*^?^|^ii>$£^^*;ii^y?p^         -\}^'-^^. 


UNIVERSITY  OF  CALIFORNIA 
AT  LOS  ANGELES 


14^Hh^ 


CYCLOPEDIA    OF 

Music  and  Musicians 


Volume  I 
ABACO— DYNE 


4 


-\ 


CYCLOPEDIA    OF 


MUSIC   AND    MUSICIANS 


EDITED   BY 

JOHN    DENISON     CHAMPLIN,    JR. 

CRITICAL   EDITOR 

WILLIAM    FOSTER    APTHORP 


IV/TH  MORE  THAN  ONE   THOUSAND  ILLUSTRATIONS 


VOLUME    1 


NEW   YORK 
CHARLES    SCRIBNER'S    SONS 

M  DCCC  LXXXVlll 
iSig  „  f\  O  "^  o 

6d.i  i  O 


Copyright,  i88S,  by 
Charles  Scribiier's  Sons. 


3440 


5r,;ii 


ilusic 

Library 

V  0    0 


>^.   I 


PREFACE 


THE  Cyclopedia  of  Music  and  Musicians,  like  its  predecessor,  The 
Cyclopedia  of  Painters  and  Paintings,  is  expected  by  its  pro- 
jectors to  occupy  a  novel  as  well  as  a  standard  place  among 
authorities  upon  its  subject.  Like  that,  also,  it  founds  its  claim  to  this 
position  especially  upon  tlii-ee  things :  The  character  and  comprehensive- 
ness of  the  information  which,  through  its  text  and  illustrations,  it  for 
the  first  time  makes  accessil)le ;  the  new  simplicity  of  its  arrangement ; 
and  the  bibliography,  of  a  kind  hitherto  unattempted,  through  Avhich  it 
furnishes  a  key  and  guide  to  the  whole  literature  of  its  art.  The  two 
works  beino;  then  similar  in  kind  and  in  method  of  arrangement,  we  can- 
not  do  better  than  to  re2)eat  substantially  the  preface  of  the  foi'mer. 

It  is  not  only  a  fuller  biographical  dictionary  than  now  exists  of  the 
musicians  of  all  schools,  including  prominent  contemporaries,  but  it  is,  as 
well,  a  dictionary  of  works  ;  and  in  a  form  in  which  the  one  branch  of 
information  is  as  immediately  accessible  as  the  other.  It  must  be  under- 
stood, however,  that  it  embraces  in  its  scope  only  composers  and  their 
works,  excluding  mere  performers  and  musical  literati.  The  important 
compositions  of  all  periods,  operas,  oratorios,  cantatas,  symphonies,  etc., 
are  treated  under  their  own  names,  in  separate  articles,  in  which  are 
given  an  accurate  description  of  each  work,  the  history  ot"  its  text, 
or  of  the  subject  of  its  theme,  the  date  and  place  of  composition  and 
of  first  performance,  and  of  its  prodiiction  in  other  countries,  its  publica- 
tion, and  such  other  facts  as  make  the  account  as  nearly  as  possible  ex- 
haustive. The  articles,  whether  biographical  or  descriptive,  are  not  based 
upon  statements  accepted  in  any  sense  at  second  hand,  but  upon  close  re- 


PBEFAGE 

search,  coiulucted  with  tlie  hope  of  making  this  work  virtually  an  oiiginal 
authority — their  facts  being  derived  fi-oni  the  latest  monographs  in 
all  langiia<res  on  the  several  musicians  and  their  works,  from  the  music 
periodicals  of  many  countries,  and  from  autobiographical  memoranda 
and  other  original  material.  In  many  instances  correspondence  with 
musicians  and  others  has  brought  to  light  hitherto  unpublished  informa- 
tion of  much  interest  and  value,  relating  both  to  composers  and  to  their 
Avorks.  The  latest  publications  of  the  prominent  music  publishers  and  of 
the  several  musical  associations  have  also  been  carefully  collated,  so  that 
the  information  given  is  the  best  and  fullest  accessible  up  to  the  date  of 
completion. 

The  method  of  arrangement  of  the  Cyclopedia  is  believed  to  be  espe- 
cially practical,  intelligible,  and  convenient.  The  biographical  and  de- 
scriptive articles  are  combined  in  a  single  alphabet :  a  novel  plan,  ena- 
bling any  reader,  with  no  knowledge  of  a  well-known  opei-a  or  other 
musical  work  other  than  the  name,  to  turn  to  it  directly  and  trace  its 
history  back  to  its  composer.  A  simple  cross-reference  system  also  en- 
ables the  i-eader  of  the  biographical  articles  to  tell  at  a  glance  what 
works  of  each  musician  are  treated  at  length,  the  italicizing  of  a  single 
word  in  the  title  of  a  composition  showing  that  under  that  word  a  sepa- 
rate article  upon  it  will  be  found. 

Tlie  l>ibliography  appended  to  each  article  is  such  as  will  guide  tlie 
reader  to  further  -and  more  minute  investigation  than  would  be  possible 
in  any  book  of  reference ;  even,  it  may  be  claimed,  to  an  exhaustive 
study  of  the  whole  literature  of  the  topic.  It  embraces,  besides  English 
works  and  periodicals,  those  in  French,  German,  Italian,  Spanish,  Portu- 
guese, Dutch,  Swedish,  and  Danish. 

The  illustration  lias  not  been  undertaken  with  a  view  of  mere  embel- 
lishment, )»ut  ill  accordance  with  the  purpose  of  the  Cyclopedia.  The 
biographical  articles  contain  a  greater  number  of  portraits  of  prominent 
musicians,  living  and  dead,  than  have  ever  before  been  published  in  any 
work.  Many  of  the  contemjiorary  ones  have  been  furnished  l)y  the  com- 
posers themselves,  and  are  not  obtainable  elsewhere.  In  many  of  the 
articles  also  are  fac-simile  re2)roductions  of   scores   by  celebrated   com- 


r  RE  FACE 

posers,  fac-similes  of  autogi-aj)li  signatures,  and  views  of  hirtlipLices, 
monuments,  statues,  etc.  In  tlie  articles  on  operas  and  oratorios  are 
given  portraits  of  celebrated  singers  wliose  names  have  been  identified 
with  their  representation,  some  of  them  in  the  costumes  approi)riate  to 
their  roles.  Each  volume  of  this  edition  contains,  in  addition  to  these, 
twelve  full-page  etched  portraits  of  the  most  famous  composers,  making 
in  all  thirty-six  etcliings,  a  representative  collection  of  the  great  masters 
of  the  art  never  before  given  in  any  publication. 

The  work  is  under  obligations  to  Mr.  Louis  von  Eltz  for  his  efficient 
labors  during  its  entire  progress,  and  especially  for  his  valuable  aid  in 
researches  connected  with  the  German,  Italian,  French,  Spanish,  and 
Portuo-uese  musicians. 

Thanks  are  due,  also,  to  the  superintendent  and  other  officials  of  the 
Astor  Libraiy  of  New  York,  and  to  the  officers  of  the  Athen;eum  and 
the  Harvard  Musical  Association  of  Boston,  for  numerous  pi'ivileges  and 
courtesies,  without  which  the  woi'k  on  the  Cyclopedia  would  have  been 
attended  with  great  difficulties,  if  not  rendered  impossible. 

New  York,  November  1,  18S8. 


vll 


LIST   OF   ILLUSTRATIONS 


FULL-PACE  PORTRAITS 


To  Fact' 


I.  DANIEL    FRANCOIS    ESPRIT    AUBER 

From  the  engraving  by  Hedoiiin,  after  the  painting  by  Delaroche      .        .        .      40 


2.  JOHANN    SEBASTIAN    BACH 

From  the  engraving  by  Sichling,  after  the  painting  by  Hanssinann    .        .        ,      80 


3-  LUDWIG    VAN    BEETHOVEN 

From  the  lithograph  by  Kriehnber,  after  the  bust  by  Dietrich  .        .         .     120 


4-  VINCENZO    BELLINI 

From  a  contemporary  lithograph '60 


S'  HECTOR    BERLIOZ 

From  the  engraving  by  Gilbert,  after  the  painting  by  Conrbct  .        .        .    200 


To  Face 


6.                          FRANgOlS    ADRIEN    BOIELDIEU  W-' 

From  the  engraving  by  Dien 240 


7-  JOHANNES    BRAHMS 

From  a  photograph  by  Hanfstaengl 280 


8.  LUIGI    CHERUBINI 

From  a  lithograph  by  Figiwroii,  after  tl.v  painting  by  Ingres    ....     520 


9-  FREDERIC    CHOPIN 

From  a  photograph  after  the  painting  by  Schick 360 


'o-  GAETANO    DONIZETTI 

From  a  photograph  after  the  painting  by  Eiigen  Fetix 400 


II-  ROBERT    FRANZ 

From  a  photograph  after  the  painting  by  Hermann 4J0 


12-  CHRISTOPH    WILLIBALD    CLUCK 

From  a  photograph  after  the  painting  by  Duptessis 460 


PORTRAITS   OF  MUSICIANS. 

DRAWN  BY  VALfilUEN  GIUBAV£D0FP. 


1. 

2. 

3. 

4. 

5. 

6. 

7. 

8. 

9. 

10. 

11. 

12. 

13. 

14. 

15. 

16. 

17. 

18. 

19. 

20. 

21. 

22. 

23. 

24. 

25. 

26. 


Abel,  Karl  Fiiedrich 

Abt,  Franz 

Adam,  Atlolpbe  Charles 

Agostini,  Paolo 

Alard,  Delpliiu 

Alary,  Jules 

Albert,  Eugene  tV 

Albreebtsberger,  Joliann  Georg. 

Alcoc'k,  John 

Aklricli,  Henry 

Allegri,  Gregorio 

Allison,  Horton  Clariilge 

Ambros,  August  Wilhelm 

Anderton,  Thomas 

Andre,  Johanu  Anton 

Anerio,  Felice 

Anfossi,  Pasquale 

Arditi,  Luigi 

Ariosti,  Attilio 

Armes,  Philip 

Arne,  Thomas  Augustine , 

Arnold,  George  Benjamin 

Arnold,  Samuel 

Asioli,  Bonifazio 

Auber,  Daniel  Frau<;ois  Esprit . 
Audran,  Edmoud 


2 
4 
7 

17 
24 
25 


35. 
36. 

37. 
38. 
39. 
40. 


26  41. 


29 
31 
32 
37 
38 
44 
48 
49 
52 
53 
65 
G8 


42. 
43. 

44. 
45. 

46. 
47. 
48. 
49. 
50. 
51. 


69 :  53. 


71 
73 
74 
80 


54. 

55. 
56. 
57. 


27.  Bach,  Carl  Philipp  Emanuel 

28.  Bach,  Johann  Christian 

29.  Bach,  Johanu  Sebastian 

30.  Bach,  Wilhelm  Friedemann 

31.  Baillot,  Pierre  Marie  Fran9ois  de 

Sales 

32.  Baker,  Benjamin  Franklin 

33.  Balakirev,  Mily  Ale.xejevich 

34.  Balatka,  Hans 


86  :  58. 

88  59. 

60. 

94  61. 

97  j  62. 

99  I  63. 

105   64. 

65. 

109   66. 

111  1  67. 
112 ;  68. 

112  69. 


Balfe,  Michael  William 113 

Banck,  Carl IH 

Banister,  Henry  Charles H" 

Banister,  John 118 

Bargiel,  Woldemar 123 

Barnby,  Joseph 125 

Barnett,  John 125 

Barnett,  John  Francis 126 

Bartholomew,     Ann      S  li  c  p  p  a  r  d 

Mounsey 128 

Battishill,  Jonathan 132 

Bazin,  Franyois 135 

Becker,  Albert 139 

Becker,  Eeinhold 140 

Beethoven,  Ludwig  van,  in  1809  . .  141 
Beethoven,  Ludwig  van,  in  1814.  .  143 
Beethoven,  Ludwig  van,  profile. .  .   144 

Belcher,  William  Thomas 150 

Bellini,  Vincenzo 152 

Beuda,  Georg 156 

Bendall,  Wilfred  Ellington 157 

Bendel,  Franz   157 

Benedict,  Sir  Julius 158 

Bennett,  Sir  William  Sterndale.  .  .   161 

Bently,  John  Morgan 1*54 

Beriot,  Charles  Augusta  do 168 

Berlioz,  Hector 169 

Bertini,  Henri 177 

Berton,  Henri  Montan 178 

Best,  William  Thomas 180 

Biber,  Heinrich  Joliann  Franz 183 

Bishop,  Sir  Henry  Rowley 189 

Bizet,  Georges 190 

Blow,  John 196 

Blumenthal,  Jacob 197 

Boccheriui,  Luigi 198 


PORTRAITS  OF  MUSICIANS 


PAGE 

70.  Bochsa,  llobert  Nicolas  Charles . .  201 

71.  Bocksliorn,  Samuel 202 

72.  Boieklieu,  Fran<;ois  Adrieu 20G 

73.  Boito,  Arrigo 209 

74.  Bonouciui,  Giovanni  Battista. .  . .  213 

75.  Borodin,  Alexander 21G 

76.  Bottesini,  Giovanni 218 

77.  Boucher,  Alexandre  Jean 218 

78.  Boulanger,  Ernest  Henri  Alexan- 

dre   219 

79.  Boyce,  "William 221 

80.  Bradbury,  William  Batchelder...  222 

81.  Braham,  John 223 

82.  Brahms,  Johannes 223 

83.  Brandeis,  Frederick 22G 

81.  Brassin,  Louis 227 

85.  Bridge,  John  Frederick 230 

86.  Bridge,  Joseph  Cox 231 

87.  Bronsart,  Hans  von 233 

88.  Bronsart,  Ingeborg  vou 233 

89.  Bruch,  Max 235 

90.  Bruckner,  Anton 23G 

91.  Briill,  Ignaz 23G 

92.  Buck,  Dudley 238 

93.  Bull,  John 210 

91.  Bull,  Ole 210 

95.  Billow,  Hans  von 211 

96.  Bunnett,  Edward 212 

97.  Burney,  Charles 215 

98.  Caballero,  Fernandez 250 

99.  Cafaro,  Pasquale 252 

100.  Callcott,  John  Wall 256 

101.  Calvisius,  Sethus 257 

102.  Campana,  Fabio 261 

103.  Canipra,  Andre 262 

104.  Carey,  Henry 270 

105.  Carter,  WiUiam 277 

106.  Cellier,  Alfred 291 

107.  Chadwick,  George  Whitfield 29G 

108.  Cherubini,  Luigi 307 

109.  Child,  William 312 

110.  Chipp,  Edmund  Thomas 313 

111.  Cliopiu,  Frederic 314 

112.  Cimarosa,  Domenico 322 

113.  Clarke,  Hugh  Archibald ;    329 

114.  Clemcnti,  Muzio 338 


PAGE 

115.  Conradi,  August 347 

IIG.  Conrardy,  Jules 317 

117.  Converse,  Charles  Crozat 351 

118.  Corelli,  Arcangelo 355 

119.  Cornelius,  Peter 357 

120.  Cossmanu,  Beruhard 362 

121.  Costa,  Sir  Michael 363 

122.  Couperin,  Francois 367 

123.  Cowen,  Frederic  Hymen 3G;) 

124.  Cramer,  Johann  Baptist 371 

125.  Croft,  William 376 

126.  Crotch,  William 376 

127.  Crouch,  Frederick  William  Nich- 

olls 377 

128.  Criiger,  Johannes 378 

129.  Cui,  COsar 380 

130.  Cusins,  William  George 381 

131.  Czerny,  Carl 383 

132.  Dalayrac,  Nicolas 385 

133.  Damrosch,  Leopold 391 

134.  Danzi,  Franz 395 

135.  David,  Felicieu 399 

136.  David,  Ferdinand 400 

137.  Davidoff,  Karl 401 

138.  Defesch,  Willem 405 

139.  Defies,  Pierre  Louis 405 

140.  Delibes,  Leo 410 

141.  Despres,  Josquin 419 

142.  De  Swert,  Jules _ 422 

143.  Diaz  de  la  Pefia,  Eugene  Emile. .  428 

144.  Dibdiu,  Charles 429 

145.  Dietrich,  Albert 431 

146.  Dittersdorf,  Karl  Ditters  von 434 

147.  Dohler,  Theodor 437 

148.  Donizetti,  Gaiitano 443 

149.  Dorn,  Heinrich 447 

150.  Dotzauer,  Justus  Johann  Fri'jdrieh  448 

151.  Draeseke,  Felix 451 

152.  Dragonetti,  Domenico 452 

153.  Dreyschock,  Alexander 455 

154.  Duni,  Egidio  Romoaldo 462 

155.  Dujjont,  Auguste 463 

156.  Durante,  Francesco 467 

157.  Dussek,  Johann  Lndwig 468 

158.  Dvorak,  Antoniu 471 

159.  Dyer,  Arthur  Edwin 472 


PORTRAITS   OF  SINGERS,   /iUTOGRAPHS,   FACSIMILES, 

ETC. 


1.  Autograph  of  Franz  Abt.     1878.. 

2.  Autograph  of  Adolphe  Adam 

3.  Portrait  of  Pauline  Lucca . . 

4.  Autograph    of    Johann    Friedricli 

Agricola.     1771 

5.  Clara  Louise  Kellogg,  as  Aula .... 

6.  Autograph   of  Johann   Georg   Al- 

brechtsberger.      1793 

7.  Autograph   of   Micliael  Altenburg. 

1618 

8.  Caricature  of  the  Chorus  in  Anti- 

gone, London  Punch,  1847. . . . 

9.  !Mara  as  Armida 

10.  Portrait   of   Carlo  Broschi,  called 

Farinelli 

11.  Portrait  of  Elizabeth  Billington . . 

12.  Autograph  of  Daniel  Frani;ois  Es- 

prit Auber 

13.  Dugazon  as  Azemia 

14.  Autograpli     of     Philijjp    Emanuel 

Bach.     1774 

15.  Autograph    of    Johann     Christian 

Bach.     1757 

16.  Birthplace    of    Johann     Sebastian 

Bach 

17.  Facsimile    of  the  MS.   of   Johann 

Sebastian  Bach :  from  tlie  1st 
Prelude  in  the  Wohltemperirte 
Clavier 

18.  Autographs   of  Johann    Sebastian 

Bach.     1733   

19.  Autograph  of  Wilhelm  Friedemann 

Bach.     1733 

20.  Autograph  of  Pierre  Mario  Fran- 

cois de  Sales  Buillot.     1834. .  . . 


PAGE  ' 

5   21. 

8j 
15  22. 

18  I  23. 

22   24. 

25. 


29 

26. 

27. 

41 

28 

29. 

58 

30 

69 

31 

77 

32 

78 

33 

34 

87 

35 

92 

36 

95 

37 

97 

38 

100 

39 

40. 

41. 

101 

42 

105 

43 

105 

44 

110 

Autograpli     of     Giuseppe     Baini. 

1831 Ill 

Autograph     of     Michael     William 

Balfe 114 

Portrait  of  Zelia  Trebelli 115 

Portrait  of  Adeliua  Patti 121 

Portrait  of  Erminia  Frezzolini 137 

Beethoven's  Birthplace 142 

Caricature  of  Beethoven 143 

Beethoven's  Tomb,  Vienna 144 

Beethoven's  Statue  in  Bonn 144 

Facsimile  of  Beethoven's  MS.:  from 

the  Sonata  in  A-flat,  op.  26 146 

Autograi^hs  of  Beethoven.  1809 . .  148 
Lavinia  Fenton,  as  Polly  Peachuin .  149 
Autograph  of  Vincenzo  Bellini....  154 
Autograph  of  Franz  Benda.  1781.  155 
Autograph  of  Georg  Benda,  1781.  157 
Autograph  of  Sir  Julius  Benedict. 

1867 158 

Autograph  of  Sir  William  Stern- 
dale  Bennett.     1840 162 

Portrait  of  Gioacchino  Conti,  called 

Gizziello 166 

Autograph  of  Charles  Auguste  de 

Beriot 160 

Autograph  of  Hector  Berlioz.  1853.  171 
Autograph  of  Christoph  Bernhard. 

1651 174 

Autograph  of  Henry  Moutan  Ber- 

ton 179 

Autograph      of      Georges      Bizet. 

1859 191 

Au*^ograpli    of    Luigi    Bocclierini. 

1787 200 


PORTRAITS  OF  SINGERS,  AUTOGRAPHS,  ETC. 


45.  Autograph     of     Robert     Nicholas 

Charles  Bochsa 201 

46.  Autograph     of     Fran<;ois     Adrian 

Boieldieu 208 

47.  Autograph  of  Arrigo  Boito.    1884 .  209 

48.  Autograph  of  Giovanni  Maria  Bo- 

noncini.     1656 214 

49.  Autographs  of  Johannes   Brahms. 

1885  ;  1872 225 

50.  Autograph   of    Hans    von   Billow. 

1868 242 

51.  Autograph      of      Giulio     Caccini. 

1005 251 

52.  Hermione,  in  Cadmus  et  Hermione. 

1673 252 

53.  Autograph     of     Antonio    Caldara. 

1715 255 

54.  Autograph     of    Sethus    Calvisius. 

1594 258 

55.  Autograph  of  Michele  Carafa 267 

56.  Minnie  Hauck,  as  Carmen 273 

57.  Autograph  of  Charles  Simon  Catel. 

1818 283 

58.  Autograph  of  Emilio  de'  Cavalieri. 

1597 286 

59.  Portrait  of  Marietta  Alboui 292 

60.  Autograph  of  Luigi  Cherubini ....   309 

61.  Autograph  of  Frederic  Chopin .  . .    314 
02.  Facsimile  of  the  MS.   of  Frederic 

Chopin.     Mazurka 315 

63.  Autograph  of  Domenico  Cimarosa. 

1793 324 

64.  Autograph    of    Muzio     Clementi. 

1807 334 


65.  Autograph   of    Arcangelo    Corelli. 

1711 356 

66.  AutograjDh     of    Peter     Cornelius. 

1873 357 

67.  Autograph  of  Sir  Michael  Costa. .  .  363 

68.  Autogi-aph  of  Carl  Czernj-.    1823 .  .   383 

69.  Autograph    of    Nicolas    Dalayrac. 

1807 \...  386 

70.  Portrait  of  Marie  Eoze 389 

71.  Autograjjh   of    Alexander    Sergie- 

vitch  Dargomygky.     1857 396 

72.  Autograph  of  Folicien  David.  1846.  400 

73.  Autograph   of    Ferdinand    David. 

1853 401 

74.  Autograph  of  Leo  Delibes.    1883 . .   410 

75.  Portrait  of  Eegiua  Mingotti 413 

76.  Autograph    of    Josejjh    Dessauer. 

1863 420 

77.  Portrait  of  Anna  Thillon 427 

78.  Autograph  of  Karl  Ditters  von  Dit- 

tersdorf.     1798 435 

79.  Laura  Damoreau  as  Augele,  in  Le 

domino  uoir 439 

80.  Portrait  of  Galli-Marie 441 

81.  Portrait    of    Lorenzo    da    Ponte, 

author  of  the  libretto   of  Don 
Giovanni 441 

82.  Lablache    as    Leporello,    in    Don 

Giovanni 442 

83.  Autograph  of    Gautano  Donizetti. 

1843 445 

84.  Autograph  of  .iutonioDraghi.  1687.  452 

85.  Autograph     of    Antoiiiu    Dvorak. 

1882 472 


BIBLIOGRAPHY. 


ACADEMY.     London. 
Adam,  Adolphe.     Derniers  souvenirs  d'un 

miisicien.     Paris,  1859. 
Albei'gbetti,  Fedeiigo  and  Michelangelo  Cialli. 

Donizetti-Mayr.     Bergamo,  1875. 
AUgemeine    deutsclie    Biogiapbie.      Leipsic, 

1875,  et  seq. 
AUgemeine   deutsche  Musikzeitung.     Leipsic, 

1874,  et  seq. 
AUgemeine    musikalische    Zeitung.     Leipsic, 

1798-1848  ;  Neue  Folge.     1SC3,  et  seq. 
AUgemeine   Wiener   Musik-Zeitung.     Vienna, 

1817-24. 
AUgemeine  Zeitung.     Munich,  formerly  Augs- 
burg, 1798,  et  seq. 
Ambros,    August   Wilhelm.      Gescbichte    der 

Musik.     Breslau,  18G2-82. 
Ambros,  August  Wilhelm.     Oulturhistorische 

Bilder  aus  dem   Musiklebea   der   Gegen- 

wart.     Leipsic,  1865. 
Ambros,    August    W'ilhelm.       Bunte    Blatter, 

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Thayer,  Alexander  Wheelock.  Ludwig  van 
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TABLE   OF   ABBREVIATIONS. 


A.,  Alto. 

B.,  Bass,  Basso,  etc. 

Bar.,  Baritone. 

B.  M.  v.,  Beata  Maria  Virgo. 

Biog.,  Biography,  Biogratia,  etc. 

Cath.,  Cathedral. 

Cb.,  Churcb. 

Col.,  Collection. 

do.,  ditto. 

etc.,  et  cetera. 

et  seq.,  et  secjiientia. 

Pr.,  Freiicb. 

Ger.,  German. 

ib.,  ibidem. 

id.,  idem. 

It.,  Italian. 

L.  of  Honour,  Legion  of  Honour. 

Lib.,  Liber. 


M.,  JMonsieur. 

Mile,  Mademoiselle. 

Mme,  Madame. 

MS.,  MSS.,  Manuscript,  Manuscripts. 

M.  S.,  Mezzo-soprano. 

Mas.  Bac,  Bachelor  of  Music. 

Mus.  Doc,  Doctor  of  Music. 

n.  d.,  no  date. 

op.,  opus,  opera. 

R  A.  M.,  Royal  Academy  of  Music. 

S.,  Soprano. 

S.,  Sta.,  San,  Santa. 

S.  M.,  Santa  Maria. 

Sp.,  Spianish. 

St.,  Saint. 

T.,  Tenor. 

Voc,  Voces. 

Vol.,  Volume. 


WoirU  in  italics  indicate  the  alphabetical  place  of  articles  un  the  subjeds  specified. 


CYCLOPEDIA 


OP 


Music  and  Musicians 


ABACO,  EVAEISTO  FELICE  DALL', 
born  in  Verona,  in  1662,  died  iu  Mu- 
nich, Feb.  26,  1726.  Violinist,  Con- 
certmeister  in  the  band  of  the  Elector  Max 
Emmanuel  of  Bavaria.  Works  :  12  sonatas 
for  violin  and  bass  ;  10  concertos  for  four 
parts,  for  church  use  ;  12  sonatas  for  two  vio- 
lins, violoncello,  and  bass  ;  Sonata  for  violin 
and  bass  ;  6  concertos  for  four  violins,  alto, 
bassoon,  violoncello,  and  bass.  These  works 
were  published  in  Amsterdam. — Fotis ;  Men- 
del, Ergdnz.,  1. 

ABADIA,  NATALE,  born  in  Genoa,  Italy, 
March  11,  1792,  died  (?).  Dramatic  com- 
poser, pupil  of  Pietro  Eaimondi  and  of 
L.  Cerro.  Works :  L'imbroglione  ed  il 
castigamatti,  opera  buffa,  given  in  Genoa, 
1812  ;  La  Giannina  di  Pontieu,  ossia  la  Vil- 
lanella  d'onore,  musical  drama,  ib.,  1812  ; 
Mass  for  three  voices  ;  Mass  for  four  voices, 
with  orchestra  ;  Vesper  service  ;  Motets. 
— Fetis. 

ABBATINI,  ANTONIO  MARIA,  born  at 
Tiferno,  or  at  Castello,  Italy,  in  159-5,  died 
in  Castello  in  1677.  He  was  maestro  di  cap- 
pella,  in  Rome,  of  S.  Giovanni  in  Laterano 
in  1626,  of  the  Gesft  in  1628,  of  S.  Maria 
Maggiore  in  1645—46,  and  then  of  S.  Lo- 
renzo e  Damaso ;  again  of  S.  Maria  Mag- 
giore in  1649-57,  of  S.  ]Maria  di  Loretto 
until  1672,  when  he  returned  to  S.  Maria 


Maggiore,  and  remained  there  until  his  de- 
cease. Most  of  his  compositions,  masses, 
psalms,  motets,  etc.,  are  in  manuscript,  and 
are  pi-eserved  in  the  archives  of  the  churches 
in  which  he  served.  He  assisted  Kircher  in 
writing  his  Musurgia,  and  is  said  by  Allaci 
to  have  written  an  opera :  Del  male  in  bene, 
Rome,  1654.  Works  published  :  Psalms,  four 
books  (1630-35);  Motets,  for  two,  three,  four, 
and  five  voices  (1636-38)  ;  Masses,  three 
books  (1638-50).  After  his  death,  his  pupil, 
Dominique  del  Pane,  published  his  An- 
tiennes  for  twelve  tenors  and  twelve  basses 
(Rome,  1677).— Fi'tis ;  Mendel,  Ergiinz.,  1. 

ABBfi,  JOSEPH  B.ARNABE  S.AEXT- 
SfiVIN,  called,  born  at  Agen  (Lot-et-Ga- 
ronne),  June  11,  1727,  died  at  Maisous,  near 
Charenton,  in  1787.  Violinist,  son  and  pupil 
of  Philippe  de  Saint-Sevin,  called  Abbe 
(who,  from  1727,  was  a  violoncellist  of  re- 
piite  in  the  orchestra  of  the  Opera  in  Paris) ; 
then  pupil  of  Leclair  in  1740-42.  He  was  a 
violinist  at  the  Conu-die  Franyaise  in  1739, 
and  the  Opera  in  1742,  whence  he  retii-ed 
after  twenty  years  of  service.  He  published 
eight  works  of  sonatas  and  trios  for  the  vio- 
lin.— Fetis. 

ABEGG  VARIATIONS,  theme  on  the 
name  Abegg,  with  variations  for  pianoforte, 
by  Schumann,  op.  1,  dedicated  to  Pauline, 
Countess  d' Abegg  ;   composed  in  the  first 


ABEILLE 


half  of  1830  ;  published  iu  July,  1832.  This 
work  was  inspired  by  a  beautiful  woman, 
Meta  Abegg,  whose  uarne,  represented  in 
musical  notes,  Schumann  used  for  the  mo- 
tive of  his  conijiosition.  It  is  worked  up  in 
waltz  rhythiQ,  f)robably  iu  memory  of  the 
ball  at  which  he  met  the  young  lady.  The 
Countess  d'Abegg  is  a  mythical  jJerson,  in- 
vented for  the  occasion. — Reissmann  (Al- 
ger), 37. 

ABEILLE,  (JOHAXN  CHRISTIAN) 
LUDWIG,  born  at  Baireuth,  Feb.  20,  17G1, 
(lied  at  Stuttgart,  March  2,  1838.  Pianist 
and  organist,  pujjil  of  Boroni  and  Siimann 
at  the  Karlsschule  in  Stuttgart.  He  joined 
the  jjrivate  band  of  the  Duke  of  Wiirtem- 
berg  in  1782,  succeeded  Zumsteeg  as  Con- 
certmeister  iu  1802,  and  was  subsecpeutly 
made  director  of  official  music,  and  organist 
in  the  court  chapel.  In  1832  Abeille  re- 
ceived a  ijension  and  royal  gold  medal  for 
his  fifty  years'  services.  Among  his  works 
are  eight  Lieder,  an  Ash- Wednesday  hymn 
for  four  voices,  and  two  operettas :  Amor 
luid  Psj'che,  Augsburg,  1801 ;  and  Peter  und 
Aeunchen,  1810  ;  which  have  been  arranged 
for  the  pianoforte.  He  also  wrote  for  the 
harpsichord,  sonatas,  concertos,  etc.,  some 
with  violin  and  violoncello  accompaniment. 
A  Miserei'e,  with  full  chorus,  is  jDreserved  in 
the  MS.  department  of  the  Imperial  Library, 
Paris. — Allgem.  d.  Biogr.,  i.  7  ;  Fetis  ;  Men- 
del. 

ABEL,  oratorio,  music  by  Thomas  Augus- 
tine Ai-ne,  first  performed  at  Drury  Lane, 
London,  March  12,  1755.  It  was  not  suc- 
cessful, but  one  of  its  melodies,  known  as 
the  Hymn  of  Eve,  is  simple  and  beautiful, 
and  became  very  popular. 

ABEL,  CLAINIOR  HEINRICH,  born  in 
Westphalia,  middle  of  17th  century,  time  of 
death  unknown.  Chamber-musician  to  the 
court  of  Hanover.  He  composed  for  string 
instruments,  in  the  form  of  Allemandes, 
CtMirantes,  Sarabands,  etc.  :  Erstlinge  mu- 
sikalischer  Blumen  (3  vols.,  Frankfort,  1071, 
1G7G,  1G77) ;  also  published  as  Drei  Opera 
rausica  (Brunswick,  1687), — Futis. 


ABEL,  KARL  FRIEDRICH,  born  at 
Kothen,  about  1725,  died  in  London,  June 
22,  1787.  Viol-da- 
gamba  virtuoso,  pu- 
pil at  the  Thomas- 
schule,  Leipsic,  of 
Sebastian  Bach ;  one 
of  the  court  band  at 
Dresden,  under 
Hasse,  in  17i8-58. 
After  travelling 
through  Germany,  he 
went  in  1759  to  London,  where  he  gave,  April 
5,  a  concert  composed  entirely  of  his  own 
music.  He  was  appointed  chamber-musician 
to  Queen  Charlotte,  with  a  salary  of  £200. 
Having  joined  John  Christian  Bach  on  his 
arrival  in  London  iu  17G2,  he  aided  him  in 
conducting  Mrs.  Cornelys's  subscrij)tion  con- 
certs, the  first  of  which  was  given  in  Carlisle 
House,  Soho  Square,  in  1765,  and  which  con- 
tinued many  years.  The  violinist  Wilhelm 
Cramer  made  his  first  appearance  at  these 
concerts,  and  Haydn's  symphonies  were  there 
first  performed  in  England.  After  Bach's 
death,  in  1782,  the  concerts,  conducted  by 
Abel  alone,  were  unsuccessful.  He  returned 
to  Germany  in  1783,  visiting  Berlin  and 
Ludwigslust,  where  he  played,  but  revisited 
Loudon  again  iu  1785,  and  played  in  the 
Subscription  Concerts  of  Mr.  Salomon  and 
Mme.  Mara  at  the  Pantheon  and  in  the 
newly  established  Professional  Concerts ;  he 
played  last  iu  public  at  Mrs.  Billington's 
concert,  May  21,  1787.  He  was  the  greatest 
and  last  virtuoso  upon  his  instrument,  which, 
after  his  death,  fell  into  disuse.  Much  of 
Abel's  music  was  published  by  Bremner,  of 
London,  and  Hummel,  of  Berlin.  Among  the 
best  known  are  :  A  fifth  set  of  Six  Overtures, 
oj).  11  (Bremner),  and  Six  Sonatas,  op.  18  ; 
his  instrumental  pieces  are  contained  in 
seventeen  works.  He  wrote  the  music  for 
the  operas :  Love  in  a  Village  (London,  1760) 
and  Berenice  (1761). — Allgem.  d.  Biogr.,  i. 
13  ;  Fetis  ;  Mendel. 

ABEL.\,  KARL  GOTTLOB,  born  at  Bor- 
na,  Saxony,  April  29,  1823,  died  at  Halle, 


f 


A  BELL 


April  22,  184:1.  Vocal  composer,  pupil  in 
Dresden  of  A.  G.  Fischer  ;  weut  to  Halle  in 
1825,  and  shortly  after  was  made  cantor  at 
St.  Mary's  Church.  He  did  much  toward 
the  jjromotion  of  vocal  music  iu  the  public 
schools.  Works  :  Collection  of  songs  for 
two,  three,  and  four  voices  (Leipsic,  Hart- 
kuoch,  -Ith  ed.,  1848) ;  160  songs,  followed 
by  canons  for  several  voices  (ib.,  Breitkopf 
&  Hiirtel)  ;  120  quartets  for  male  voices 
(ib.)  ;  Der  Siingerbimd,  (juartets  for  do. 
(Halle,  Knapp).— Fetis. 

ABELL,  JOHN,  born  in  London  (?)  about 
1()C0,  died  iu  Cambridge  in  1724.  Alto 
singer  and  lute  player,  probably  educated 
in  the  choir  of  the  Chapel  Royal,  of  which 
he  was  a  member  in  1079,  and  afterwards 
sent  by  Charles  H.  to  study  in  Italy,  whence 
he  returned  in  1688.  Having  re-entered  the 
Chapel  Royal,  lie  was  dismissed,  after  the 
Revolution  of  1688,  on  account  of  his  Roman 
Catholic  faith,  and,  after  travelling  on  the 
Continent,  leading  a  vagrant  life,  returned 
to  London  iu  1700  and  settled  at  Cam- 
bridge. Works  :  Les  airs  d'Abell  pour  le 
concert  (Amsterdam);  A  Collection  of  Songs, 
in  several  languages  (London,  1701) ;  Col- 
lection of  Songs  in  English  (ib.). — Grove  ; 
Fetis  ;  Mendel ;  Schilling. 

ABENCERAGES,  LES  (The  Abeucer- 
rages),  French  opera  iu  three  acts,  test  by 
Jouy,  music  by  Cherubini ;  first  represented 
at  the  Opera,  Paris,  April  G,  1813.  This 
performance  was  attended  by  the  Emperor 
Napoleon,  who  left  Paris  the  morning  after 
to  attemjjt  to  check  the  advance  of  the  Allies. 
Tlie  libretto  is  founded  on  the  romantic,  but 
now  disjjroved,  story  of  the  feud  between 
the  two  Moorish  families  the  Zegris  and  the 
AbenceiTages,  and  the  murder  in  the  Alham- 
bra,  by  order  of  the  sovereign  of  Granada, 
of  all  the  jarinces  of  the  latter  name,  on  his 
discoverj'  of  illicit  relations  between  one  of 
them  and  his  own  wife  or  sister.  The  storj-, 
as  given  by  Ginez  Perez  de  Hita  in  his  "His- 
toria  de  los  Vandos,  de  los  Zegries  y  Aben- 
cerages  "  (Saragossa,  1595),  has  been  retold 
by  Floriau,  Chateaubriand,  and  others.    The 


same  subject  is  treated  iu  the  operas  Aben- 
hamet  et  Zoraide,  hy  Giusejjpe  Niccoliui, 
Milan,  1805 ;  Zoraide,  by  Giuseppe  Fari- 
nelli,  Venice,  1816  ;  Zoraide,  or  Der  Friede 
von  Granada,  by  Karl  Blum,  Berlin,  1821  ; 
Zoraide  di  Grauata,  by  Donizetti,  Rome, 
1822  ;  Der  letzte  Abencerage,  text  by  Lud- 
wig  Bartog,  music  by  Franz  Sarosi  (Schauer), 
Pesth,  Jan.  4,  1887. — Bellasis,  Cherubini, 
206. 

ABENHAMET  E  ZOR-HDE.  See  Aben- 
rerarjfa. 

ABENHEIJH,  JOSEPH,  born  at  Worms 
in  1804,  still  living,  1888.  Violinist,  studied 
the  violin  and  pianoforte  at  Worms  and 
Darmstadt,  and  theory  at  Mannheim,  where 
he  entered  the  orchestra.  In  1825  he  was 
made  a  member  of  the  royal  orchestra  at 
Stuttgart,  visited  Paris  in  1828,  and  studied 
composition  under  Reiclia,  and  after  his  re- 
turn was  promoted  to  a  more  elevated  posi- 
tion in  the  orchestra,  until  in  1854  he  be- 
came director  of  music.  Works  :  Music  for 
the  drama  Hariadan,  played  at  Stuttgart, 
1842  ;  Psalm  for  four  voices  ;  Pater  noster  ; 
Songs  without  words,  for  pianoforte  (Stutt- 
gart, Hallberger) ;  2  nocturnes  for  do.,  op. 
8  (ib.)  ;  Polonaise  (Carlsruhe,  Creuzbauer) ; 
6  songs,  with  pianoforte,  op.  2  (Leipsic, 
Breitkopf  &  Hiirtel) ;  6  do.,  op.  5  (Stuttgart, 
Copel) ;  Der  deuLsche  Rhein,  for  a  single 
voice  (Stuttgart,  Schnitz) ;  etc.  Many  entr'- 
actes and  overtures,  which  remain  iu  manu- 
script.— Fetis  ;  Mendel. 

ABERT,  (JOHANN)  JOSEF,  born  at 
Kochowitz,  Bohemia,  Sept.  21,  1832,  still 
living,  1888.  Dramatic  composer,  first  in- 
structed in  the  Augustine  convent  at  Bohm- 
isch-LeijJa,  but  at  the  age  of  fifteen  i-au 
away,  and  became  a  pupil  at  the  Conserva- 
torium,  Prague,  of  Kittl  and  Tomaczek.  In 
1852  he  obtained  an  engagement  as  contra- 
bassist  in  the  court  orchestra  at  Stuttgart, 
and  in  the  year  following  brought  out  his 
first  symphony  in  C  minor.  After  having 
produced  his  first  opera  in  1859,  he  lived 
for  several  years  in  Paris  and  London,  and 
in  the  former  place  was  much  aided  by  in- 


ABOS 


tercourse  with  Rossini,  Auber,  and  Halevy. 
About  I860  he  was  appointed  royal  director 
of  music  at  Stuttgart,  and  in  1867  Hof- 
Kapellmeister.  Works :  Symphony  in  C 
minor,  given  iu  Stuttgart,  1853  ;  do.  in  A 
major,  ib.,  1856  ;  Antia  von  Landskron, 
opera,  ib.,  1859  ;  KOuig  Eazio,  oj^era,  ib., 
1862  ;  Columbus,  symphonic  poem,  ib., 
1864;  Astorga,  opera,  ib.,  Sept.  20,  186G  ; 
Ekkehard,  opera,  Berhn,  1878  ;  Die  Almo- 
haden,  opera,  written  iu  1886  ;  Concert- 
Overtures,  String  Quartets,  Compositions 
for  the  jjianoforte,  and  Songs. — Brockhaus  ; 
Fetis,  Supplement,  i.  2  ;  Mendel ;  Riemaun. 

ABOS,  GIROLAMO,  born  at  Mdta  in 
the  beginning  of  the  18  th  century,  died  in 
Naples  about  1786.  Dramatic  composer. 
He  taught  in  the  Couservatorio  deUa  Pieta, 
Najsles,  the  singer  Aprile  being  his  most 
famous  piupil ;  he  visited  Rome,  Venice,  and 
Tui-in,  and  was  maestro  al  cembalo  at  the 
opera  iu  London  in  1756.  Works — Operas  : 
Le  due  zingare,  given  at  Na^sles,  Teatro 
Nuovo,  1742  ;  La  serva  padrona,  Naples, 
about  1744 ;  Ifigenia  in  Aulide,  ib.,  about 
1745  ;  La  moglie  gelosa,  ib.,  Teatro  de'  Fio- 
rentiui,  1745  ;  Artaserse,  Venice,  1746  ;  Ad- 
riano,  Rome,  1750 ;  La  pupilla  e  '1  tutore, 
Naples,  about  1753  ;  Tito  Maulio,  London, 
1756  ;  Creso,  ib.,  1758.  Church  music  :  7 
Masses,  2  Kyries,  and  several  Litanies  to  the 
Virgin  are  in  manuscript  in  Rome,  Naples, 
and  Turin,  and  in  the  Conservatory  in  Paris. 
— Fetis;  Mendel,  Ergiinz.,  3. 

ABRAHA:\IS  OPFER  (Abraham's  Offer- 
ing), oratorio,  by  Peter  Joseph  von  Lind- 
paintner,  given  at  Stuttgart  in  1821.  The 
characters  are  well  conceived,  the  airs  me- 
lodious and  exj)ressive,  the  recitatives  purely 
declamatory,  and  the  choruses  vigorous  and 
full  of  fire.  The  instrumentation  is  very 
suitable  and  effective.  It  was  dedicated  to 
Queen  Victoria,  who  sent  him,  in  return,  iu 
1848,  a  medal. — ^Vllgem.  mus.  Zeit.,  xxiii. 
314. 

ABRAM,  JOHN,  born  at  Margate,  Eng- 
land, Aug.  7,  1840,  still  living,  1888.  Organ- 
ist, successively,  at  St.  John's,  Torquay,  1864 ; 


St.  Peter  and  Paul's,  Wantage,  1865  ;  St. 
Paul's,  St.  Leonard's-on-Seu,  1869.  Works  : 
Jerusalem,  cantata  ;  The  Widow  of  Nain, 
oratorio ;  Anthems,  services,  pianoforte  mu- 
sic, etc. 

ABRAMS,  HENRIETTA,  born  in  Eng- 
land in  1760,  died  in  the  tu-st  half  of  the 
19th  century.  The  eldest  of  three  sisters, 
singers,  pupil  of  Dr.  Ai'ue  ;  first  appeared 
in  public  at  the  Drury  Lane  Theatre  in  1775, 
and  composed  several  songs  which  became 
very  popular,  to  wit :  The  Orphan's  Prayer, 
and  Crazy  Jane.  In  1787  she  published  A 
Collection  of  Songs,  and  A  Collection  of 
Scotch  Songs  harmonized  for  three  voices. 
— Grove. 

ABSCHEULICHER !     See  FideUo. 
ABSCHIEDS     SYMPHONIE    (Farewell 
Symphony),  music  by  Josef  Haydn  ;  date 
on   autograph  score,    1772.     Published  by 
Simrock. 

ABT,  FRANZ,  bom  at  Eilenburg,  Prus- 
sian Saxouj',  Dec.  22, 
1819,  died  at  Wies- 
baden, March  31, 
1885.  Composer  of 
vocal  and  of  little- 
known  instrumental 
music,  educated  at 
the  Thomasschule  in 
Leipsic,  where,  al- 
though destined  for 
theology,  he  was 
drawn  towards  music  by  his  acquaintance 
with  Mendelssohn.  In  1841  he  was  appoint- 
ed musical  director  of  the  court  theatre  at 
Bernburg,  and  iu  the  autumn  of  the  same 
year  of  the  theatre  at  Zurich,  where  he  was 
much  sought  as  a  leader  of  singing  societies 
and  a  vocal  teacher,  and  became  jiopular  as 
a  composer.  Called  to  Brunswick,  in  1852, 
as  second  Kapellmeister  at  the  court  theatre, 
he  was  appointed  Hof-Kapellmeister  iu  1855, 
and  pensioned  in  1881.  On  the  invitation 
of  several  prominent  singing  societies,  he 
visited  the  United  States  iu  1872,  and  won 
great  triumphs.  He  was  ver}'  prolific,  and 
up  to  1881  had  published  more  than  five 


ABU 


rv 


^J^>^ 


hundred  and  eighty  books  (Hefte),  some  of 
theiu  containing  from  twenty  to  thirty  num- 
bers. His  songs  for  a  single  voice,  and 
his  part-songs,  written  especially  for  men's 
voices,  are  not  of  high  standing,  artisticallj', 
but  sho^y  a  good  deal  of  iiuent,  melodious  in- 
vention, although  often  verging  on  the  senti- 
mental. Certain  of  his  songs,  like  "  Weun 
die  Schwalben  heimwilrts  ziehn,"  and  "Gute 
Nacht,  du  meiu  herziges  Kind,"  have  be- 
come household  melodies.  Among  his  part- 
songs  are  some  of  poetic  beauty  ;  for  in- 
stance, "Die  stille 
W  a  s  s  e  r  r  o  s  e . " 
Member  of  Stock- 
h  o  1  ni  Academy, 
1865  ;  Brunswick  order  of  Henry  the  Lion, 
18G9. — Mendel;  Kiemanu. 

ABU  HASSAN,  comic  Singspiel  in  one 
act,  text  by  Franz  Hiemer,  music  by  Carl 
Maria  von  Weber,  first  represented  in  Mu- 
nich, June  4,  1811.  Weber  began  the 
score  at  Mannheim,  Aug.  11,  1810,  and, 
after  some  interrujjtious,  completed  it  at 
Darmstadt,  Jan.  12,  1811.  He  dedicated  it 
to  the  Grand  Duke  Ludwig,  in  the  vain  hope 
that  it  would  lead  to  a  permanent  ajjpoint- 
ment  at  the  court.  It  was  produced  with 
success  in  London,  in  1825,  in  an  English 
dress,  and  was  given  at  the  Theatre  Lyrique, 
Paris,  May  11,  1859,  with  a  French  text  by 
Nuitter  and  Beaumont. — Max  M.  von  Weber, 
Carl  M.  von  W.,  i.  212,  272. 

ACCELLI,  GESARE,  Italian  contrapunt- 
ist of  the  second  half  of  the  16th  century-. 
He  published  at  Venice  :  Libro  primo  de' 
madrigali  a  cinque  voci,  among  which  is 
the  one  beginning,  Donna  mia  casta  e  bella 
(1557) ;  others  of  his  composition  are  found 
in  the  collection  :  De'  floridi  virtuosi  d'ltalia 
il  terzo  libro  de'  madrigali  a  cinque  voci, 
imovamente  composto,  etc.  (Venice,  1586). 
— Fctis. 

ACCIAJUOLI,  FILIPPO,  born  in  Rome 
in  1637,  died  there,  Feb.  3,  1700.  Dramatic 
composer  and  poet ;  as  knight  of  the  order 
of  Malta  he  went  to  Palestine,  travelled 
through  Europe,  and  parts  of  Asia,  Africa, 


and  America,  whence  he  returned  to  Italy 
by  way  of  England  and  France.  He  then 
devoted  his  whole  attention  to  the  theatre, 
for  which  he  worked  not  only  as  a  composer, 
but  as  a  most  expert  machinist.  His  many 
operas,  of  which  only  four  are  complete, 
were  well  received  throughout  Italy,  owing 
to  their  novel,  romantic  style,  and  were  fre- 
quently performed.  Under  the  name  of 
Ireneo  Amasiano  he  became,  in  1690,  a  mem- 
ber of  the  Arcadi  illustri,  the  famous  acad- 
emy founded  by  Queen  Christina  of  Sweden. 
Operas  :  II  girello,  given  at  Modena,  1675, 
at  Venice,  1682  ;  La  damina  placata,  Venice, 
1680  ;  Ulisse  in  Feazia,  ib.,  1680,  1681 ;  Chi 
6  causa  del  suo  mal,  pianga  se  stesso. — 
Fetis ;  Mendel. 

ACCORIMBONI,  AGOSTINO,  born  in 
Rome  about  1754,  died  (?).  Dramatic 
composer.  Works :  II  regno  delle  Amaz- 
zoni,  opera,  given  in  Parma  about  1782  ;  II 
podesta  di  tuft'o  autico,  opera,  Rome,  1786  ; 
Masses,  Motets,  and  Vesjiers,  which  are 
found  in  the  churches  of  Romagua  and 
Lombardy. — Fetis. 

A  CE  BONHEUR  SUPREME.  See 
Zampa. 

ACERES,  ,  Spanish  dramatic  com- 
poser of  the  present  time,  who  has  made 
himself  known  by  several  zarzuelas,  jr  comic 
operas  :  Dos  comicos  de  jjrovincia ;  Sensi- 
tiva  ;  El  manco  de  Lepanto  (written  for  the 
anniversary  of  the  death  of  Cervantes),  given 
at  Madrid,  April  23,  1867  ;  La  bola  negra, 
1872  or  1873  ;  El  testamento  azul  (with 
Barbieri  and  Oudrid),  Madrid,  Teatro  del 
Buen  Retire,  1874. — Fetis,  Supplement,  i.  3. 

A  CETTE  CAUSE  SAINTE.  See  Hugue- 
nols. 

ACH  !   ICH  FilHL'S.     See  Zauberflote. 

ACHILLE  NELL"  ASSEDIO  DI  TROJA 
(Achilles  at  the  Siege  of  Troy),  Italian  opera, 
music  by  Cimarosa,  represented  at  Rome, 
1798,  during  the  carnival.  An  opera,  same 
title,  music  by  Francesco  Basili,  was  given 
at  the  Pergola  Theatre,  Florence,  1798. 
Achille  placato,  Italian  opera,  music  by 
Antonio  Lotti,  given  in  Venice,  1707  ;  L'  ira 


ACHILLE 


d'  Achille,  music  by  Niccolini,  given  in  Milan, 
1813  ;  find  L'  ira  d'  Achille,  music  by  Fran- 
cesco Basili,  Venice,  1817,  deal  with  inci- 
dents of  the  siege. 

ACHILLE  ET  DEIDAAHE.  See  Achille 
in  Sciro. 

ACHILLE  PLACATO.  See  Achille  nell' 
assedio  di  Troja. 

ACHILLE  ET  POLYXfiNE  (Achilles 
and  Polyxena),  lyrical  tragedy  in  tive  acts, 
text  by  Campistron,  music  by  Lulli  and 
Colasse  ;  first  rei^reseuted,  Paris,  Nov.  7, 
1687.  The  libretto  is  founded  on  the  story 
of  the  love  of  Achilles  for  Polyxena,  daugh- 
ter of  Priam.  Achilles,  having  gone  to  the 
temple  of  Apollo,  at  Thymbra,  to  negotiate 
his  marriage,  is  treacherously  slain  there  by 
Paris,  and  Polyxena  is  afterward  sacrificed 
on  his  tomb  by  his  sou  Neoptolemus  or 
Pyrrhus.  The  same  subject  is  treated  in 
Polyxene  et  Pyrrhus,  five  acts,  text  by  La- 
serre,  music  by  Colasse,  given  at  the  Acade- 
mic royale  de  musique,  Oct.  21,  170G  ;  in 
Pyrrhus  et  Polyxene,  five  acts,  text  by  Joli- 
veau,  music  by  Dauvergne,  Opera,  Paris, 
Jan.  11,  17G3  ;  in  Pyrrhus  und  Polyxene, 
by  Peter  von  Winter,  Vienna,  1781  ;  Polyx- 
ena, by  Anton  Schweitzer,  "Weimar,  about 
1770  ;  Polyxena,  by  E.  W.  Wolf,  Weimar, 
177G  ;  and  Polyxena,  by  Leojjold  Zeller, 
Neu-Strelitz,  1781. 

ACHILLE  IN  SCIRO  (Achilles  in  Sciros), 
Italian  opera  in  three  acts,  text  by  Metas- 
tasio,  first  set  to  music  by  Caldara  and  rep- 
resented at  Vienna,  Feb.  13,  1736,  on  the 
marriage  of  the  Archduchess  Maria  Theresa 
with  Stephano  Francesco,  Grand  Duke  of 
Tuscanj'.  Sabject,  the  adventures  of  the 
young  Achilles  among  the  daughters  of 
Lj-comedes  in  Sciros,  where  he  had  been 
introduced  in  the  disguise  of  a  maiden  by 
his  mother  Thetis,  to  keep  him  from  the 
Trojan  war,  which  she  knew  would  be  fatal 
to  him.  Characters  repi'esented  :  Licomede, 
Achille,  Deidamia,  XJlisse,  Teagene,  Nearco, 
Arcade.  Scene,  the  palace  of  Lycomedes  in 
Sciros.  The  libretto  has  been  set  to  music 
also  bv  Giovanni  Legreuzi,  given  in  Venice, 


1664  ;  by  Antonio  Caldara,  Vienna,  1736  ; 
Giuseppe  Arena,  liome,  1738  ;  Pietro  Chia- 
rini,  Brescia,  1739  ;  Leonardo  Leo,  Turin, 
1743  ;  Nicoli)  Jommelli,  Vienna,  1745  ;  An- 
tonio Mazzoni,  Naples,  1750  ;  Sciroli,  Naples, 
1751 ;  Manna,  Milan,  1755  ;  Johann  Fried- 
rich  Agricola,  Berlin,  1758  ;  Johann  Adolph 
Hasse,  Naples,  1759  ;  Ferdinaudo  Giuseppe 
Bertoni,  Venice,  1764  ;  Johann  Gottlieb 
Naumann,  Palermo,  1767  ;  Giovanni  Pai- 
siello,  St.  Petersburg,  about  1780  ;  Giuseppe 
Sarti,  Florence,  1781  ;  Gaetano  Puguani, 
Turin,  1785  ;  Pietro  Antonio  Coppola,  Na- 
ples, 1825.  Achille  a  Soyros,  a  ballet  in 
three  acts,  music  by  Cherubiui,  was  given 
at  the  Opera,  Paris,  Dec.  18,  1804  ;  and 
Achille  a  Scyros,  ojierette  in  one  act,  music 
by  Laurent  de  Kille,  at  the  Folies  Nouvelles, 
Paris,  in  September,  1857.  Achille  et  Deida- 
mie,  tragic  opera  in  five  acts,  text  by  Danchet, 
music  by  Andre  Campra,  given  at  the  Acade- 
mie  royale,  Paris,  Feb.  24,  1735  ;  and  Achil- 
les in  Petticoats,  English  opera,  music  by 
Thomas  Augustine  Arne,  London,  1773, 
deal  with  the  same  subject. 

ACHILLEUS,  dramatic  oratorio,  text  by 
Heinrich  Bulthaupt,  music  by  Max  Bruch, 
first  jjerformed  at  the  Khenish  Festival, 
1885.  The  jioem,  which  is  founded  on  in- 
cidents from  the  "Iliad,"  deals  with  the  dis- 
content of  the  Greeks,  the  resentment  of 
Achilles,  the  death  of  Patroclus,  and  the 
final  triumph  over  Hector.  It  was  fii-st  given 
in  America  by  the  Liederkrauz  Society,  New 
York,  Nov.  28,  1886,  with  the  following  cast : 
Achilleus,  C.  Zobel  ;  Andromache,  Miss 
Emily  Winant ;  Hector  and  Odysseus,  M. 
Treumann  ;  Polyxena  and  Thetis,  Miss  Hen- 
rietta Beebe  ;  Agamemnon  and  Priam,  Max 
Heinrich  ;  conductor,  Reinhold  L.  Herman. 
— Krehbiel,  Review,  1886-87,  34. 

ACHTER,  PAUL  ULRICH,  born  at  Aich- 
bach,  Bavaria,  March  10,  1777,  died  there  in 
October,  1803.  Violinist  and  church  com- 
posei-.  The  son  of  a  tailor,  he  learned  mu- 
sic from  the  Benedictines,  whose  order  he 
joined  in  1801.  Among  his  works  is  a  Mass 
of  remarkable  beauty. — Fetis. 


ACH 


ACH  WIE  FLtJCHTIG,  cantata  for  the 
24rtli  Sunday  after  Trinity,  by  Johauu  Sebas- 
tian Bacli ;  written  for  four  voices,  two  vio- 
lins, viola,  two  Geriiiau  flutes,  three  oboes, 
and  continuo.  Published  by  the  Bach- 
Gesellschaft,  vol.  iii.,  Church  Cantatas,  1855. 

ACIS  AND  GALATEA  (Ital.,  Aci  or  Acide 
e  Galatea;  Fr.,  Acis  et  Galatee  ;  Ger.,  Acis 
und  Galathea),  the  story,  as  related  by  Ovid 
(Met.,  xiii.  750),  of  the  loves  of  the  shejjherd 
Acis  and  the  nymph  Galatea.  Polyphemus, 
the  Cyclop,  jealous  of  Acis,  crushed  him  un- 
der a  huge  stone,  and  his  blood  gushing 
forth  was  changed  by  Galatea  into  the  river 
Acis  or  Acinus,  which  flows  from  under  a 
rock  at  the  foot  of  lit.  Etna.  First  treated 
by  ]\Iarc  Antoine  Charpentier  in  Les  Amours 
d'Acis  et  Galatee,  opera,  Paris,  1678  ;  then 
by  Giovanni  Battista  Lulli,  text  by  Campis- 
tron,  in  Acis  et  Galatee,  an  heroic  pastoral 
in  three  acts,  represented  at  the  Chateau 
d'Anet,  before  the  Dauphin,  Sept.  C,  1686, 
and  at  the  Opera,  Paris,  in  1687.  Aci,  Ga- 
latea e  Polifemo,  a  pastoral  serenata,  music 
by  Handel,  given  at  Naples,  1708,  bears  no 
musical  resemblance  to  Acis  and  Galatea, 
his  English  serenata.  Other  versions  of  this 
subject  are  by  Gottfried  Heinrich  StOlzel, 
German  opera,  Prague,  1715  ;  Franz  Josef 
Haydn,  Italian  ojjera,  Vienna,  1770  ;  Fran- 
cesco Bianchi,  Italian  opera,  London,  1797  ; 
and  Johann  Gottlieb  Naumauu,  Dresden, 
1801,  his  last  work.     See  Galatea. 

ACIS  AND  GALATEA,  pastoral  serenata 
in  two  acts,  text  by  Gay,  with  additions  by 
Poj)e  and  Hughes,  music  by  Handel ;  first 
produced  (not  acted)  at  the  Duke  of  Chan- 
dos's  place  of  Cannons,  near  Edgeware,  in 
1720-21.  Though  not  intended  to  be  acted 
as  an  opera,  it  was  thus  represented,  without 
Handel's  sanction,  at  the  Haymarket  Theatre, 
London,  May  17,  1732.  Galatea  was  sung 
by  Miss  Arne,  afterwards  Mrs.  Cibber,  sister 
of  the  composer  Thomas  Augustine  Ai-ne, 
and  Acis  by  Mr.  Mountier.  This  illegiti- 
mate performance  led  to  its  production,  on 
the  following  June  10th,  under  Handel's  aus- 
pices, as  a  serenata,    Mozart  strengthened 


the  score  with  additional  accompaniments 
for  Baron  Van  Swieten  in  1788.  It  was 
again  put  upon  the  stage  at  Drury  Lane, 
Feb.  5,  1842.  The  MS.  is  in  Buckingham 
Palace.  It  was  first  printed  by  Randall, 
successor  to  Walsh,  in  1730,  and  has  since 
been  published  by  the  Handel  Society  (Lon- 
don, 1846-47)  and  by  the  Handel- Gesell- 
schaft  (Leipsic,  1859).— Hogarth,  ii.  58  ; 
Schleicher,  Handel,  59  ;  Eockstro,  Handel, 
112,  173  ;  Chrysander,  ii.  262. 

ACTION,  opera  comique  in  one  act,  text 
by  Scribe,  music  by  Auber,  given  at  the 
Opera  Comique,  Paris,  Jan.  23,  1836.  The 
story  of  this  famous  hunter,  who  was  torn  to 
pieces  on  Mt.  Cithseron  by  his  own  hounds 
as  a  punishment  for  having  surprised  Diana 
and  her  nymphs  while  bathing,  was  first 
treated  musically  by  Marc  Antoine  Charpen- 
tier, Paris,  about  1690. 

A  CONSOLAKMI  AFFRETISI.  See 
Linda. 

ACTUS  TRAGICUS.  See  G'c/«e.s  Zeit  ist 
die  allerbeste  Zeit. 

ADAM,  ADOLPHE  CHARLES,  born  in 
Paris,  July  24,  1803, 
died  there,  May  3, 
1856.  Dramatic  com- 
poser, son  and  pupil 
of  Louis  Adam,  and 
pupil  of  Anton  Rei- 
cha  and  of  Boieldieu 
at  the  Conservatoire. 
Having  acquired  a 
popular  name  with 
compositions  and 
transcriptions  for  the  pianoforte,  chansons 
and  ensembles  for  vaudevilles  and  operettas, 
he  brought  out  his  first  opera,  Pierre  et 
Catherine  (one  act),  in  1829,  which  was  fol- 
lowed by  Danilowa  (three  acts)  in  1830, 
both  at  the  Opera  Comique,  where  also  he 
won  his  greatest  triumph,  in  1836,  with 
the  PostiUoH  de  Lonjumeau,  which  made 
its  way  rapidly  in  all  the  theatres  of  Eu- 
rope, and  is  still  a  standard  piece  in  their 
repertories.  In  1847  he  founded  a  new 
dramatic  enterprise,  the  Theatre  National, 


ADAM 


which,  successful  at  the  outset,  came  to 
grief  during  the  revolutionary  troubles  of 
1818,  and  left  him  financially  embarrassed. 
Besides  operas  and  ballets  he  composed 
some  church  music,  of  which  two  masses 
are  stiU  in  great  favour  in  Paris.  The  rhyth- 
mical grace  and  melodiousness  of  his  mu- 
sic, combined  with  a  fine  sense  of  humour, 
and  skilful  treatment  of  voices  and  orches- 
tra, secure  for  him  a  place  in  the  history  of 
the  national  French  opera  next  to  Boieldieu 
and  Auber.  He  visited  Belgium,  Holland, 
Germany,  and  Switzerland  in  1826,  sjjent 
nine  months  in  London  in  1832-33,  and 
visited  St.  Petersburg  in  1839,  and  Berlin 
in  1840,  on  the  invitation  of  the  respective 
sovereigns.  He  was  an  excellent  organ  and 
pianoforte  player,  and  much  sought  as  a 
teacher  of  the  latter  instrument ;  he  also 
won  distinction  as  a  musical  critic.  L.  of 
Honour,  1836  ;  Officer,  Member  of  the  Insti- 
tut  de  France,  1844  ;  professor  of  composi- 
tion at  the  Conservatoire,  1848.  Works — 
Operas :  Le  jeune  proprietaire  et  le  vieux 
fermier,  Isaure.  given  in  Paris,  1829  ;  Henri 
V.  et  ses  compagnons,  Rafael,  Les  trois 
Catherines,  Trois  jours  en  une  heure,  Jo- 
sephine, ou  le  retour  de  Wagram,  ib.,  1830  ; 
Le  moreeau  d'ensemble,  Le  grand  prix, 
Casimir,  ib.,  1831 ;  His  First  Campaign,  The 
Dark  Diamond,  London,  1832  ;  Le  proscrit, 
Paris,  1833  ;  Une  bonne  fortune,  Le  ohalet, 
ib.,  1834  ;  La  marquise,  Micheliue,  ib.,  1835  ; 
Le  fidele  berger,  Le  brasseiir  de  Preston,  ib., 
1838  ;  Regine,  La  reine  d'un  jour,  ib.,  1839  ; 
La  rose  de  Peronne,  La  main  de  fer,  ou  le 
secret,  ib.,  1841 ;  Le  roi  d'Yvetot,  ib.,  1842  ; 
Caglioslro,  Eichard  en  Palestine,  ib.,  1844  ; 
La  bouquetiere,  ib.,  1845 ;  Toreador,  Le 
fanal,  ib.,  1849 ;  Giralda,  ou  la  nouvelle 
Psj'che,  ib.,  1850  ;  Le  farfadet.  La  poupee 
de  Nuremberg  (opera-bouffe).  Si  j'etais  roi, 
ib.,  1852  ;  Le  sourd.  La  faridondaine,  Le 
roi  des  halles,  Le  bijou  perdu,  ib.,  1853  ;  Le 
muletier  de  TolOde,  A  Clichy,  ib.,  1854  ; 
Le  houzard  de  Berchiny,  ib.,  1855 ;  Falstaflf, 
Mam'zelle  Genevieve,  Les  pantins  de  Vio- 
lette,  ib.,  1856  ;  Le  dernier  bal,  unpublished. 


Ballets  :  Faust,  given  in  London,  1833  ;  La 
fille  du  Danube,  Paiis,  1836  ;  Les  Mohicans, 
ib.,  1837;  Morskoi  Rasbonick,  St.  Peters- 
burg, 1840 ;  Die  Hamadryaden,  Berlin, 
1840 ;  Giselle,  ou  les  Wilis,  Paris,  1841 ;  La 
jolie  fille  de  Gand,  ib.,  1842 ;  Le  diable  a 
quatre,  ib.,  1845 ;  The  Marble  Maiden, 
London,  1845  ;  GriseUdis,  ou  les  cinq 
sens,  Paris,  1848  ;  La  iiUeule  des  fees,  ib., 
1849  ;  Orfa,  ib.,  1852  ;  Le  corsaire,  ib.,  1856. 
Other  works :  Les  nations,  cantata,  Paris, 
1851 ;  Chant  de  victoire,  do.,  ib.,  1855 ; 
Cantate  pour  la  naissauce  du  Prince  Im- 
perial, ib.,  1856  ;  Messe  solennelle,  a  quatre 
voix  et  choeur,  Paris,  1837 ;  Messe  h  trois 
voix ;  Messe  de  Saint-Cecile,  pour  soli, 
choeurs  et  orchestre,  Paris,  1850 ;  Messe 
de  rOrpheon,  pour  choeur  de  quatre  voix 
d'hommes,  Meaux,  1851 ;  Mois  de  Marie  de 
Saint-Philippe,  huit  motets ;  Domine  sal- 
vum,  trio  et  choeur,  avec  orgue  ;  Grande 
marche  religieuse ;  Les  metiers,  choeurs 
populaires  pour  quatre  voix  d'hommes ; 
Les  enfants  de  Paris,  choeur  a  quatre  voix 

d'hommes  ; 
Duets,  Ro- 
m  a  n  c  e  s. 
Melodies, 
Ballades,  Chansonnettes,  etc. — Adam,  Sou- 
venirs d'un  musicien  (Paris,  1860) ;  Clement, 
Les  musiciens  celebres,  483  ;  Fetis  ;  Halevy, 
Notice  sur  la  vie,  etc.;  Pougin,  Adolphe 
Adam,  sa  vie,  etc.;  Tournaillon,  Sur  Adolphe 
Adam. 

ADAM  DE  LA  HALLE  (de  la  Hale), 
surnamed  le  bossu  d'Arras  (the  Hunchback 
of  Arras),  born  at  Arras,  Artois,  about 
1240  (Coussemaker,  1220),  died  in  Na- 
ples between  1285  and  1288.  He  studied 
at  the  Abbey  of  Vaucelles,  near  Cambrai, 
and  assumed  there  the  habit  of  clerk, 
though  whether  he  meant  to  take  orders  is 
very  doubtful ;  but  he  fell  in  love  with  and 
married  a  young  girl  named  Marie,  whom 
he  soon  deserted.  He  afterwards  went  to 
Douai,  and  possibly  to  Paris  to  enter  the 
university  ;  was  in  the  service  successively 
of  Robert  H.,  Comte  d'Ai-tois,  Robert  de 


ADAM 


Bethune,  Count  of  Flanders,  and  Charles 
d'Aujou,  brother  of  St.  Louis.  He  followed 
these  nobles  to  Egypt,  Syria,  Palestine,  autl 
Italy ;  and  probably  shared  the  varied  for- 
tunes of  Charles  d'Anjou,  who  was  made 
Kegent  of  Naples  in  1265.  As  a  composer 
Adam  was  the  greatest  genius  of  his  time, 
equal  to  the  best  of  the  dcchanteurs  in 
technical  knowledge,  and  far  surpassing  the 
other  trouveres ;  he  was  the  connecting 
link  between  the  dechauteurs  and  the  early 
coutrajmutists  of  the  first  Flemish  school. 
Of  his  compositions  (the  text  of  which  he 
also  wrote)  there  remain  34  chansons  for 
a  single  voice ;  16  jeux-partis ;  17  ron- 
deaux  and  17  motets  for  three  voices  ;  the 
famous  Jeu  de  Bobin  et  Marion.  As  a  j^oet 
he  was  one  of  the  chief  founders  of  the 
French  drama,  and  had  much  influence  upon 
the  formation  of  the  French  language  it- 
self.— E.  de  Coussemaker,  (Euvres  comjjlctes 
du  trouvere  Adam  de  la  Halle  (Paris,  1872) ; 
Ambros,  ii.  231 ;  Revue  et  Gazette  musicale, 
Paris,  Dec.  18,  1836. 

ADAM,  JOHANN  GEORG,  organist  at 
Meissen,  Saxony,  about  1820.  He  is  known 
by  estimable  comjiositions,  among  which 
are  :  Preludes  for  the  organ  (Meissen)  ;  12 
variations  and  a  fugue  for  do.,  op.  8  (Lei^D- 
sic,  Hofmeister) ;  6  fugues  for  do.,  op.  9  (ib., 
Breitkopf  &  Hilrtel)  ;  Series  of  songs,  with 
pianoforte  (Meissen) ;  Variations,  dances,  and 
other  p)ieces  for  pianoforte. — Putis. 

ADAM,  JOHANN  THEOPHIL,  born  at 
Taubenheim,  Saxony,  July  1,  1792,  died  (?) 
Instrumental  and  vocal  composer,  chamber- 
musician  at  the  court  of  Dresden.  Works  : 
10  variations  for  pianoforte  (Meissen)  ;  Der 
lustige  Klavierspieler,  collection  of  fortj'- 
eight  pieces  for  do.  (ib.) ;  6  easy  fugues  for 
the  organ  (ib.)  ;  Kurze  und  leichte  Gesange 
zum  Gebrauche  beim  Gottesdienste  und 
bei  Sing-Umgiingen,  for  four  voices  ;  Die 
Glocke  (by  Schiller),  with  pianoforte  (ib.). — 
Fetis. 

ADAM,  JOSEPH  AUGUST,  bom  in 
Vienna,  April  22,  1817,  still  living,  1888. 
Instrumental     composer,    pupil    of    Josef 


Tecbliuger  on  the  violin,  and  of  Joachim 
Hoffmann  in  harmony  and  composition  ;  was 
made  bandmaster  of  the  civic  guard  of  Vi- 
enna in  1816,  and  has  composed  about  sixty 
works  for  military  bands,  which  Lave  had 
great  success  in  Austria. — Fetis. 

ADAM,  KARL  FERDINAND,  born  at 
Zadel,  near  Meissen,  Dec.  22,  1806,  died  at 
Leisnig,  Saxony,  Dec.  23,  1868.  Instru- 
mental and  vocal  composer,  probably  stud- 
ied music  in  Dresden,  and  became  cantor 
and  director  of  music  at  Leisnig.  Works  : 
12  characteristic  dances,  for  pianoforte 
(Leipsic,  1829) ;  6  songs,  op.  4  (Dresden, 
Rotter) ;  Gedichte  eines  Lebendigeu,  for 
male  chorus,  op.  6  (ib.) ;  6  quartets  for  male 
voices  (Leipsic,  Breitkopf  &  Hiirtel). — Fetis. 

ADAM,  KARL  FRIEDRICH,  born  at 
Zadel,  Saxony,  in  1770,  died  (?).  Organist 
at  Fischbach,  near  Bischofswerda.  Works  : 
6  pieces  for  the  organ  (Meissen) ;  Songs  for 
four  men's  voices  (ib.) ;  6  songs  for  four 
voices,  op.  4  (Leipsic,  Breitkopf  &  Hiirtel) ; 
12  dances  for  pianoforte  (ib.). 

ADAM,  LOUIS,  born  at  Miettersholtz, 
Alsace,  Dec.  3,  1758,  died  in  Paris,  April 
11,  1848.  Pianist,  pupil  of  the  organist 
Hepp  at  Strasburg  ;  but  it  was  chiefly  his 
application  to  the  works  of  Bach,  Handel, 
Clexueuti,  and  Mozart,  which  fflaced  him  in 
the  first  rank  among  the  teachers  of  his 
instrument.  Without  a  master  he  studied 
the  violin,  the  harp,  and  composition.  Ar- 
rived in  Paris,  when  seventeen,  he  brought 
out,  at  the  Concerts  Spirituels,  two  sym- 
phonies for  harp,  pianoforte,  and  violin, 
which  were  the  first  of  their  kind  heard. 
His  principal  work  is  the  famous  Methode 
de  pianoforte,  which  was  at  once  adopted 
by  the  newly  founded  Conservatoire,  where 
he  was  professor  in  1797-1843,  and  edu- 
cated many  celebrated  artists,  among  them 
Benoist,  Chaulieu,  Kalkbrenner,  and  Ht'- 
rold,  father  and  son  ;  L.  of  Honour,  1827. 
Works :  Onze  ceuvres  de  sonates  pour  le 
piano  (Paris)  ;  Sonates  separees ;  Airs  va- 
ries j)our  do.  (ib.) ;  Methode  ou  principe 
general  du  doigte  (ib.,  1798) ;  Methode  nou- 


ADAM 


velle  pour  le  piano  (ib.,  1802) ;  Quatuors 
d'Haydn  et  de  Pleyel  an'anges  pour  le  pi- 
auo  ;  Recueil  de  romances. — Fetis  ;  Men- 
del ;  Schilling. 

ADAM  VON  FULDA,  born  about  1450, 
died  after  1537.  Composer  of  sacred  songs, 
contrapuntist,  and  writer  on  music.  He 
was  a  monk  of  Frauconia,  living  at  the  same 
time  as  Guillaume  Dufay  and  Busuois,  as 
he  states  in  the  first  book  of  his  work, 
wherein  he  styles  himself  Ducal  musician. 
He  is  the  author  of  a  treatise  on  music,  fin- 
ished Nov.  5,  14:90,  of  which  one  manuscript 
is  preserved  in  the  library  of  Strasburg. 
A  canticle  for  four  parts  by  him  is  jjre- 
served  by  Glarean  in  his  Dodekachordon, 
with  the  text :  O  vera  lux  et  gloria,  but 
originally  set  to  the  German  words  :  Ach 
hiilff  mich  Leid  und  senlich  Klag,  to  be 
found  in  Joseph  King's  Wittenberger  Ge- 
sangbuch  of  1535,  and  in  the  Enchiridion 
of  religious  chants  and  ijsalms  (Magdeburg, 
1673).— Allgem.  d.  Biogr.,  i.,  43;  Fetis; 
Mendel ;  Reissmann,  128  ;  Schilling. 

AD.OIASTOR,  ROI  DES  VAGUES 
PROFONDES.     See  Africaine. 

ADAMS,  THOJL\S,  born  in  Loudon, 
Sept.  5,  1785,  died  there  Sept.  15,  1858. 
Organist,  pujiil  of  Dr.  Busby.  From  1802 
imtil  1858  he  was  successively  oi-ganist  of 
Carlisle  Chapel,  Lambeth,  St.  Paul's,  Dept- 
ford,  St.  George's,  Camberwell,  and  of  St. 
Dunstan's-in-the-West,  Fleet  Street.  His 
anthem  for  five  voices,  O  how  Amiable  are 
Thy  DweUings,  was  performed  on  the  open- 
ing of  St.  George's,  Camberwell,  in  1824. 
Adams  superintended  for  many  years  the 
annual  performances  on  the  Apollonicon,  a 
chamber-organ  of  great  power,  containing 
both  keys  and  barrels,  first  exhibited  in 
1817.  Works :  Organ  pieces ;  Fugues ; 
Voluntaries  ;  90  interludes  ;  Hymns  ;  Sa- 
cred songs  ;  Anthems. — Grove  ;  Fetis. 

ADCOCK,  JAMES,  born  at  'Eton,  Eng- 
land, in  1778,  died  at  Cambridge,  April  30, 
18(')0.  In  1786  he  became  a  chorister  in 
St.  George's  Chapel,  Windsor,  and  in  Eton 
College   Chapel ;    in   1797   he   became   lay 


clerk  in  St.  George's  Chapel,  and  in  1799 
held  a  similar  position  at  Eton.  On  remov- 
ing to  Cambridge  soon  after,  he  was  ad- 
mitted to  the  choirs  of  King's,  St.  John's, 
and  Trinity  Colleges,  and  later  became 
master  of  choristers  at  King's  College. 
Woi-ks :  3  glees  dedicated  to  Sir  Patrick 
Blake  ;  Hark,  how  the  Bees,  glee  for  four 
voices ;  Welcome  Mirth,  glee  for  three 
voices  ;  Solfeggi  for  the  instruction  of  those 
\vishing  to  read  at  sight. — Grove  ;  Fetis ; 
Mendel. 

ADDIO!  DEL  PASSATO.  See  Trairv- 
ata. 

ADDIO,  FUGGO.     See  Mejhlofde. 

ADDIO,  SPERANZA.     See  RigoleUo. 

ADDISON,  JOHN,  born  in  London  about 
1765,  died  there,  Jan.  30,  1844.  Dramatic 
composei'.  The  son  of  an  ingenious  me- 
chanic, he  early  exhibited  a  taste  for  music, 
and  on  his  man-iage  with  Miss  Williams, 
a  niece  of  the  bass  singer  Reinhold,  he 
adojjted  it  as  a  profession.  He  appeared 
first  in  pulilic  in  Liverpool,  and  soon  after 
assumed  direction  of  the  amateur  orchestra 
of  the  private  theatre  in  Dublin.  In  1796 
he  returned  to  London,  where  his  wife  ap- 
peared at  Covent  Garden  Theatre  as  Ro- 
setta  in  Love  in  a  Village,  and  afterwards 
in  other  characters,  and  he  played  the 
double-bass  at  the  Italian  Opera  and  at  the 
Ancient  and  Vocal  Concerts.  In  1814  he 
was  one  of  six  who  composed  music  for 
The  Farmer's  Wife,  an  ojjera  by  Charles 
Dibdiu  the  younger.  A  musical  drama, 
Elijah  raising  the  Widow's  Son,  adapted  by 
Addison  to  Winter's  music,  was  given  at 
the  Drury  Lane  Theatre,  IMarch  3,  1815,  in 
the  series  of  Lenten  Oratorios  under  the 
direction  of  Sir  George  Smart.  Addison 
also  taught  singing,  and  trained  some  well- 
known  public  singers.  Works — Ojseras  : 
The  Sleeping  Beauty  (1805) ;  The  Russian 
Impostor  (1809);  My  Aunt  (1813);  Two 
Words  (1816) ;  Free  and  Easy  (1816) ;  My 
Uncle  (1817) ;  Robinet  the  Bandit  (1818) ; 
Rose  d'Amour — adaptation  of  Boieldieu's 
opera  (1818).— Grove  ;  Fetis. 


10 


ADELAIDE 


ADELAIDE  (Ger.,  Adelheid),  daughter 
of  Rudoljib  II.  of  Burguudy,  and  widow  of 
Prince  Lothaire  of  Italy,  forced  to  ofl'er  her 
hand  to  Adalbert,  sou  of  the  usur^jer  Be- 
reuger  11.  of  Ivrea,  fled  to  Cauossa  to  the 
protection  of  Otho  I.  of  Germany,  who 
made  her  his  wife.  This  subject  has  been 
musically  treated  many  times :  By  Sartorio, 
Italian  ojjera,  Venice,  1G7'2  ;  Porjsora,  do., 
Rome,  1723 ;  Buiui,  do.,  Bologna,  1725  ; 
Orlaudini,  do.,  Venice,  1729 ;  Cocchi,  do., 
Rome,  1743  ;  Fioravanti,  do.,  Naples,  1817. 
Adelaide  di  Borgogua  (Adelheid  of  Bur- 
gundy), Italian  opera  by  Rossini,  was  given 
at  the  Ai-gentiua  Theatre,  Rome,  1818,  dur- 
ing the  Carnival ;  do.,  by  Generali,  1821. 
Adelaide  di  Borgogna  al  Castello  di  Ca- 
nossa,  Italian  opera,  by  Gaudiui,  was  repre- 
sented at  the  Ducal  Theatre,  Modeua,  1842  ; 
and  Adelheid,  German  opera,  by  Telemann, 
Hamburg,  1727. 

ADELAIDE,  cantata  for  tenor  solo  and 
pianoforte,  poem  by  ]Matthison,  music  by 
Beethoven,  op.  46,  composed  in  Berlin 
about  the  middle  of  1796,  published  in 
Vienna  (Ai'taria),  February,  1797  ;  dedi- 
cated to  the  poet.  Published  also  in 
Breitkojif  &  Hiirtel's  Beethoven's  Werke, 
Serie  21,  Cantateu.  One  of  the  composer's 
hapjiiest  conceptions.  Mattbisou,  in  his 
writings,  published  1825,  saj's:  "Several 
musicians  have  quickened  this  little  lyrical 
fancj'  with  music  ;  but  none  has,  accord- 
ing to  my  inmost  conviction,  placed  the 
text,  as  against  the  melody,  in  deeijer 
shade  than  the  ingenious  Ludwig  van 
Beethoven."— Marx  (Berlin,  1875),  i.  117  ; 
von  Lenz,  i.  247  ;   Thayer,  Verzeichuiss,  19. 

ADELBURG,  AUGUST,  Ritter  VON, 
born  at  Constantinople  in  1833,  died  insane 
at  Vienna,  Oct.  20,  1873.  Dramatic  com- 
poser, pupil  on  the  violin  of  Maj'seder  in 
Vienna,  1850-54,  then  studied  at  the  prin- 
cipal conservatories  of  Germany  ;  after  sev- 
eral concert  tours,  he  lived  alternately  in 
Vienna  and  Pesth.  Works :  Wallenstein, 
opei-a,  about  1860,  not  performed  ;  Zrinyi, 
opera,    given    in    Pesth   National    Theatre, 


1868;  Martinuzzi,  opera,  ib.,  about  1870; 
Sonatas  and  concertos  for  the  violin  ;  Quar- 
tets for  string  instruments. — Mendel ;  Rie- 
mann. 

AD£LE  ET  DORSAN,  drama  in  three 
acts,  text  by  Marsollier,  music  by  Nicolas 
Dalayrac,  represented  at  the  Opera  Co- 
mique,  Paris,  April  27,  1795.  A  poor  girl, 
about  to  be  abandoned  by  her  seducer,  is 
enabled  to  triumph  over  a  powerful  rival 
and  to  touch  the  heart  of  the  father  of  her 
lover. 

ADELE  DI  LUSIGNANO,  Italian  opera, 
by  Carafa,  given  at  the  San  Carlo  Theatre, 
Naples,  1817 ;  Spanish  opera,  by  Carnicer, 
Barcelona,  1818.  The  cavatina,  "  Grazie 
vi  reudo,  amici,"  in  Carafa's  work,  is  still  a 
favorite  with  singers. 

ADELE  DE  PONTHIEU,  lyric  tragedy 
in  three  acts,  text  by  Saint-Marc,  a  chivaWc 
subject  bearing  some  resemblance  to  the 
Tancrede  of  Voltaii'e  ;  music  by  Delaborde 
and  Berton  given  at  the  Opera,  Piu'is,  Dec. 
1,  1772.  It  was  changed  into  five  acts,  with 
new  music  by  Piccinni,  and  represented  Oct. 
27,  1781;  then  reduced  to  three  acts  and 
given  in  1786,  but  without  success.  A 
German  operetta,  same  subject,  music  by 
Joseph  Lange,  was  given  in  Vienna  in  1796  ; 
and  a  German  ojjera  in  three  acts,  music  by 
Kerijen,  atMeutz  in  1798. — Desnoiresterres, 
Gluck  et  Piccinni,  317. 

ADELGASSER,  ANTON  C  A  JET  AN, 
born  at  Lucerne,  Switzerland,  April  3, 
1728,  died  at  Salzburg,  Dec.  23,  1777 
Organist,  pupil  of  Eberlin  at  Salzburg, 
where  he  became  organist  at  the  cathe- 
dral, and  harpsichordist  to  the  archbishop. 
Among  his  compositions,  several  masses 
with  orchestra  were  greatly  esteemed,  al- 
though he  imitated  too  closely  the  style  of 
his  master.  — Fctis. 

ADELSON  E  SALVINA,  Italian  opera, 
music  by  Bellini,  represented  in  1824  in  the 
theatre  of  the  Conservatorio,  Naples.  This, 
Bellini's  first  work  for  the  stage,  produced 
w-liile  he  was  still  a  student,  was  played  in 
the  presence  of  Barbaja,  then  manager  of 


u 


ADHEMAll 


La  Scala  at  IVIilaii,  San  Carlo  at  Naples,  ami 
other  opera-houses.  The  impresario,  struck 
by  the  work,  gave  Bellini  an  order  for  an  op- 
era for  Naples  ;  and  in  1826  Bianca  e  Fer- 
nando was  produced  at  San  Carlo  with  a 
success  which  gave  the  author  a  European 
reputation.  The  same  subject  was  treated 
by  Valentino  Fioravanti  in  Italy  about  1804  ; 
and  by  Savij  in  Florence  in  1839. 

ADHEMAE,  Comte  ABEL  D',  born  in 
Paris,  1812,  died  there,  1851.  Vocal  com- 
poser, whose  romances  in  dramatic  stj'le 
were  for  a  long  time  jjopular  in  France, 
Italy,  and  Germany. 

ADIEU,  CHiSKE  LOUISE.  See  Le  De- 
serteur. 

ADIEU,  MIGNON,  COURAGE!  See 
Mlgnim. 

ADIEU,  jMON  DOUX  EIVAGE.  See 
Africaine. 

ADLER,  GEORG,  born  at  Buda,  Hun- 
gary, in  1806,  still  living,  1888.  Violinist 
and  pianist ;  devoted  himself  to  the  teach- 
ing of  both  instruments,  and  was  choir 
leader  in  the  cathedral  of  his  native  city. 
Works :  Hungarian  theme,  for  violin,  with 
two  violins,  viola,  and  bass,  op.  1  (Vienna, 
Haslinger)  ;  Polonaise  for  do.,  o-p.  6  (ib.) ; 
Variations  for  pianoforte,  op.  2  (ib.) ;  Sonata 
for  do.  and  violin,  op.  3  (ib.) ;  TiK'me  varii', 
op.  4  (ib.);  do.,  op.  8;  La  Chasse,  rondo 
brillant,  op.  7  (ib.);  4  songs,  op.  10  (ib.) ; 
Libei-a  me,  Domine,  for  four  voices  and  or- 
gan, op.  11  (ib.);  Quartets  for  men's  voices, 
op.  12  (ib.) ;  3  do.,  op.  13  (ib.,  Diabelli) ; 
Cantata,  oj).  15  (ib.,  Haslinger) ;  Allegro, 
andante,  and  rondo,  op.  18  (ib.);  Sonata  for 
pianoforte  at  four  hands,  op.  27  (ib.,  Dia- 
belli) ;  Souvenir,  rondo  brillant  (Pesth, 
Grimm  &  Co.);  2  prayers  for  four  voices, 
small  orchesti-a  and  organ  (Augsbiu-g, 
Bohm). — Fotis. 

ADiVIETO  (Ammeto,  Admetus),  Italian 
opera  in  three  acts,  music  bj'  Handel,  given 
at  the  King's  Theatre,  London,  Jan.  31, 
1727.  The  text,  the  writer  of  which  is 
unknown,  is  founded  on  the  story  of  Adme- 
tus and  Alcesth,  from  the  "  Alcestis  "  of  Eu- 


ripide.s.  It  had  nineteen  consecutive  repre- 
sentations, one  of  the  longest  recorded  runs 
of  the  period.  Admeto  was  sung  by  Sene- 
sino,  Alceste  by  Faustina,  Antigona  b}'  Cuz- 
zoni,  and  Ercole  by  Boschi.  The  air  of 
Admeto,  "Spera,  si,  mio  caro,"is  considered 
one  of  Handel's  finest  inspirations.  Pub- 
lished first  by  Cluer  ;  full  score,  Handel- 
Gesellschaft  (Leipsic,  1877). — Schoelcher, 
Handel,  76 ;  Rockstro,  Handel,  151 ;  Reiss- 
mann,  Handel,  96  ;  Chrysander,  ii.  153. 

ADOLF  ATI,  ANDREA,  born  in  Venice 
in  1711,  time  of  death  unknown.  Dramatic 
and  sacred  composer  ;  pupil  in  Venice  of 
Baldassare  Galupjsi.  He  was  conductor  of 
the  music  in  S.  M.  della  Salute,  Venice,  and, 
from  1750  until  his  death,  in  L' Annunziata, 
Genoa.  His  opera  of  Arianna  is  said  to 
contain  an  air  in  the  time  of  five  beats  to 
the  measvire.  Works  :  L'Artaserse,  opera, 
given  in  Rome,  1742  ;  L' Arianna,  do.,  Genoa, 
1750;  Adriano  in  Siria,  do.,  ib.,  1751;  La 
gloria  ed  il  piacere,  do.,  ib.,  1752  ;  the  Psalm, 
Domine,  ue  in  furore,  in  the  collection  of 
the  Abbe  Santini,  Rome ;  Nisi  Dominus, 
MS.  in  the  Imperial  Library,  Paris  ;  Sei 
sonate  a  tre,  cinque  e  sei,  op.  1  (Amster- 
dam).— Ft'tis  ;  Mendel ;  Ergiinz,  5. 

ADOLPHE  ET  CLARA ;  or,  Les  deux 
prisouiiiers  (The  Two  Prisoners),  opera 
comique  in  one  act,  text  by  Marsollier,  mu- 
sic by  Dalayrac,  given  at  the  Opera  Co- 
mique, Paris,  Feb.  10,  1799.  Its  original  and 
interesting  plot,  and  its  simple  melodies 
and  dramatic  expression,  made  it  one  of  the 
most  popular  works  of  its  time. 

ADONE  (Adonis),  pastorale,  music  bj' 
Monteverde,  given  in  1639  in  the  Teatro 
di  San  Cassiano,  the  first  Venetian  opera- 
house,  which  had  been  opened  two  yeais 
previouslj'.  This  was  the  first  dramatic 
work  by  this  composer  which  was  repre- 
sented in  public.  The  subject,  the  loves  of 
Venus  and  Adonis,  has  also  been  treated  by 
Keiser  in  Adonis,  German  opera,  Ham- 
burg, 1697 ;  by  Karl  Wagner  in  Adonis, 
monodrama,  Darmstadt,  1772  ;  by  Legrenzi 
in  Adone  in  Cijoro,   Italian  ojjera,  Venice, 


12 


ADR  A  ST 


lG7fi  ;  iiiul  l)y  Lngnarii  in  Adone  e  Venere, 
opera  seria.  Naples,  1784.  See  Vemis  and 
Adonis. 

ADRAST  (Adrastus),  opera,  text  hy 
Mayrhofer,  music  by  Schubert.  Only  a 
fragment  (two  numbers)  of  this  work  was 
ever  written  (1815).  It  exists  in  MS.  in 
the  possession  of  Herr  Dumba.  The  sub- 
ject, the  War  of  the  Seven  against  Thebes, 
has  been  treated  also  liy  Friedricli  Preu 
in  Adraste,  grand  opera,  given  in  Germany 
about  1785 ;  l)y  Tarchi  in  Adrasto,  Italian 
opera  seria,  Milan,  1792  ;  and  by  Portogallo 
in  Adrasto,  Lisbon,  1800. 

ADRIANI,  FRANCESCO,  surnamed  di 
San  Severino,  born  at  Santo  Severino,  Italy, 
in  1539,  died  Aug.  IG,  1575.  Church  com- 
poser, maestro  di  cappella  of  S.  Giovanni  in 
Laterano,  Rome,  1593.  AVorks  :  Psalms  for 
four  voices,  published  with  those  of  Jacques 
de  Waet,  under  the  title  :  Adriani  et  Jachet, 
Psalmi  vespertini  omnium  festorum  per  an- 
num, equator  vocum  (Venice,  1567).  Fetis 
says  it  is  possible  that  he  has  been  con- 
founded with  Adrien  Willaert. — Fetis. 

ADRIANO  DU  ?  WIE  EIN  COLONNA ! 
See  Rienzi. 

ADRIANO  m  SIRIA  (Hadrian  in  Syria), 
Italian  opera  in  three  acts,  text  by  Metas- 
tasio,  first  set  to  music  by  Caldara,  and  rep- 
resented in  Vienna,  Nov.  4,  1731.  Scene  in 
city  of  Antioch.  Characters  represented  : 
Adriano,  Asroa,  Emirena,  Sabina,  Farnaspe, 
Aquilio.  The  libretto  has  been  set  also 
by  Pergolesi,  Naples,  1734  ;  Ferandini,  Mu- 
nich, 1737;  Karl  Heinrich  Graun,  Berlin, 
1745  ;  Francesco  Ciampi,  Venice,  1748  ;  Le- 
grenzio  Vincenzo  Ciampi,  Loudon,  1750  ; 
Adolfati,  Genoa,  1751 ;  Perez,  Lisbon,  1752  ; 
Giuseppe  Scarlatti,  Naples,  1752  ;  Johann 
Adolph  Hasse,  Dresden,  1753  ;  Galuppi, 
Venice,  1700  ;  Cabalone,  Naples,  about  17G0  ; 
Johann  Christian  Bach,  London,  17G4;  Gu- 
glielmi,  Italy,  17GG  ;  Sacchini,  Venice,  about 
1770  ;  Holzbauer,  Mannheim,  1772  ;  Schwan- 
berg,  Brunswick,  1772  ;  Mysliweczek,  about 
1775  ;  Cherubini,  Leghorn,  1782  ;  Nasolini, 
Milan,  1790 ;  Johaim  Simon  Mayer,  Venice, 


1798  ;  Migliorncci,  Naples,  1811  ;  Porto- 
gallo, Milan,  1815  ;  Giuseppe  Farinelli, 
iMilan,  1815 ;  Mombelli,  Como,  about  1820 ; 
Airoldi,  Venice,  1852.  Tlie  operas  entitled 
Adriano,  music  by  Duni,  Italj-,  1737;  by 
Abos,  Rome,  1750;  by  Bernasconi,  court 
of  Bavaria,  1755,  are  after  the  same  text. 

ADRUNSEN  (Hadrianius),  EMANUEL, 
born  in  Antwerp,  lived  in  the  second  half 
of  the  IGth  centur3'.  He  is  identical  with 
Hadrianius,  a  name  he  sometimes  used  as  a 
signature.  Among  his  works  ai-e  a  collec- 
tion of  pieces  for  one,  two,  three,  and  four 
lutes,  in  four  or  five  parts,  arranged  from 
the  compositions  of  Cyprian  Rore,  Orlandus 
Lassus,  and  many  others,  under  the  title : 
Pratum  musicum,  etc.  (Antwerp,  1584,  1592, 
and  IGOO).  He  wrote  also  twelve  preludes, 
five  fantasias,  thirty-five  madrigals,  and 
much  other  music  for  the  lute. — Biogr.  nat. 
belgique  ;  Fetis. 

ADRIEN  (Hadrian),  opera  in  three  acts, 
text  by  Hoftmanu,  music  by  Mehul,  repre- 
sented in  the  Theatre  de  la  R6publique  et 
des  Arts,  Paris,  June  4,  1799.  The  libretto 
follows  pretty  closely  that  of  Adriano  in 
Siria  b^'  Metastasio. 

jVDRIEN  (Andrien),  MARTIN  JOSEPH, 
called  La  Neuville,  also  Adrien  TAine,  born 
at  Liege,  May  2G,  17G7,  died  in  Paris,  Nov. 
19,  1822.  Bass  singer  and  composer  ;  edu- 
cated at  the  Royal  School  of  Singing  of 
Memes-Plaisirs.  From  1785  to  1804  he 
sang  at  the  Opera  in  Paris,  alternating 
parts  with  Cheron,  and  later  became  choir- 
master at  the  Opera.  Neither  his  voice  nor 
method  was  good,  but  he  was  successful 
as  an  actor.  He  succeeded  Laine  as  pro- 
fessor of  declamation  at  the  l5cole  roj'ale  de 
Musique  in  March,  1822.  Adrien  composed 
the  Hymne  a  la  victoire  (1795),  on  the 
evacuation  of  French  territory  in  that  year, 
the  hymn  to  the  martyrs  for  liberty,  and 
the  music  to  the  melodrama,  Elodie  ou  la 
Vierge  du  Monastere,  by  Ducange,  given  at 
the  Theatre  de  I'Ambigu-Coraique,  1822. 
A  brother,  name  unknown,  born  at  Liege 
in   1767,   was  choirmaster  at  the  Theatre 


ADRIENNE 


Feydeau,  Paris,  and  published  five  collec- 
tions of  sougs,  romances,  etc.  (Paris,  17'JO- 
1802).  Ferdinand,  another  brother,  was  a 
composer  of  songs,  teacher  of  singing,  and 
choirmaster  of  the  OiJura  in  Paris  in  1799- 
1801. — Biogr.  nat.  belgique  ;  Fetis. 

ADRIENNE  LECOUVREUR,  Italian  op- 
era, text  from  the  play  (1819)  of  the  same 
name  by  Scribe,  music  by  Vara,  represented 
in  Rome  in  1856. 

AD\Ti:NTLIED,  hymn,  text  by  Riickert, 
music  by  Schumann,  for  soli,  chorus,  and 
orchestra,  op.  71,  composed  1818. 

AELSTERS,  GEORGES  JACQUES,  born 
iu  Ghent  in  1770,  died  there,  April  11,  1819. 
Carillouneur  of  Ghent  from  1788  to  1839, 
and  director  of  music  at  St.  Martin's  for 
fifty  years.  His  comj)Ositions,  especially  a 
Miserere,  are  still  performed  in  Flanders. — 
Biogr.  nat.  belgique  ;  Fctis. 

^NEAS.     See  Enea  ;  Dido. 

AERTS,  EGIDIUS,  born  at  Boom,  near 
Antwerp,  March  1,  1822,  died  at  Bru.ssels, 
June  9,  1853.  Virtuoso  on  the  flute,  pupil 
of  Lahou  at  the  Brussels  Conservatoire, 
where  he  became  professor  iu  1817.  As  a 
flutist  he  attracted  attention  iu  Paris  as 
early  as  1837 ;  his  compositions — symjiho- 
nies,  overtures,  and  for  the  flute,  concertos, 
etudes,  and  fantaisies — are  not  published. 
—Fetis. 

AERTS,  F.,  born  at  St.  Trond,  Belgium, 
May  4,  1827,  still  living,  1888.  Violin- 
ist, pupil  of  the  Conservatoire,  then  of 
Charles  Hanssens  at  Brussels,  where  he 
became  first  violinist  at  the  Theatre  de  la 
Monnaie  ;  subsequently  he  led  the  orchestra 
of  the  theatre  at  Tournay,  lived  for  several 
years  in  Paris,  and  in  1862  was  made  pro- 
fessor of  music  at  the  ficole  Normale  of 
Nivelles.  He  has  composed  a  great  num- 
ber of  fantasias  for  orchestra,  variations  for 
the  violin,  romances,  etc.,  and  written  two 
treatises  on  the  Gregorian  chant,  and  an 
elementary  method  of  music. — Fetis,  Sup- 
plement, i.  6  ;  Riemann. 

AFRICAINE,  L'  (The  African),  French 
grand  opera  in  five  acts,   text  by  Scribe, 


music  by  Meyerbeer ;  first  represented  at  the 
Opera,  Paris,  April  28,  1865.  The  libretto 
was  prepared  in  1810  at  the  same  time  with 
that  of  Le  Prophete,  which  was  given  the 
preference,  but  Meyerbeer  worked  simul- 
taneously on  the  two,  and  in  1849,  a  few 
days  after  the  production  of  the  latter,  the 
score  of  L'Africaine  was  completed.  The 
libretto,  however,  was  unsatisfactory,  and 
Scribe  rewrote  it  in  1852.  Meyerbeer  re- 
vised the  score  to  suit  the  revision,  finishing 
his  work  in  1860.  It  was  brought  to  re- 
hearsal in  1863,  but  the  composer  died 
(1861)  while  still  correcting  it,  and  it  was 
not  produced  until  the  following  year. 
Original  cast : 

Vasco  de  Gama  (T.) M.  Naudin. 

Nelusko  (Bar.) M.  Faure. 

Don  Pedro  (B.) M.  Belval. 

Don  Diego  (B. ) M.  Castelmary. 

Selika  (S.) Mme  Marie  Sasse. 

lues  (M.-S.) Mile  Marie  Battu. 

lues,  daughter  of  Don  Diego,  loves  Vasco 
de  Gama,  who  has  been  absent  two  years 
on  an  expedition  of  discovery.  Her  father 
tries  to  persuade  her  that  Vasco  has  per- 
ished by  shipwreck,  and  orders  her  to  ac- 
cept the  hand  of  Dou  Pedro,  President  of 
the  Council ;  but  the  story  is  refuted  by 
the  appearance  of  Vasco,  who  narrates  be- 
fore the  Council  the  discovery  of  a  new 
land,  and  iu  proof  of  it  exhibits  two  cap- 
tives, Selika  and  Nelusko.  The  inquisitors, 
incited  by  Don  Pedro,  deny  the  truth  of  the 
stor\',  and  Vasco,  angrily  using  intemperate 
language,  is  thrown  into  prison.  In  the 
second  act,  Selika  is  watching  the  sleeping 
Vasco  in  his  dungeon.  As  he  awakes  she 
declares  her  love  for  him,  saves  him  from 
the  dagger  of  the  jealous  Nelusko,  and 
points  out  on  a  map  the  position  of  the 
great  island  of  which  she  is  queen.  Ines, 
to  save  Vasco,  consents  to  marry  Don  Pe- 
dro, who,  to  cheat  the  navigator  of  his  fame, 
takes  command  of  the  ship  fitted  out  for 
the  discovery  of  the  new  land,  and  with 
Ines,  and  Nelusko,  who  agrees  to  pilot  him 


14 


AGAMEMNON 


on  boani,  sets  aall.  Vasco,  who  has  followed 
iu  another  ship,  warns  him  that  Nelusko, 
incited  by  revenge,  is  misleading  him.  Don 
Pedro,  distrusting  him,  orders  him  to  be 
shot,  but  at  this  moment  the  vessel  strikes 
on  a  reef  and  is  boarded  by  savages,  who 
kill  the  commander  and  most  of  his  crew. 
In  the  fourth  act  Si'lika  assumes  the  attri- 
butes of  royalty  on  her  island,  and  to  save 
Vasco,  who  is  brought  before  her  with  other 
prisoners,  declares  herself  his  spouse.  A 
barbaric  marriage  is  about  to  be  celebrated 
between  them,  when  Vasco  bears  the  voice 


'U  ^P>'3-'/.,o 


■fl  ''" 

Pauline   Lucca. 


of  Inea,  and,  forgetting  his  protestations,  de- 
serts Selika  and  flies  to  his  first  love.  In 
the  last  act  Vasco  and  Ines  sail  away  for 
Portugal,  and  the  despairing  Svlika  lies 
down  to  die,  together  with  Nulusko,  under 
the  poisonous  luanchineel  tree.  The  opera 
is  so  full  of  noteworthy  musical  numbers 
that  it  is  difficult  to  make  a  selection  ;  but 
among  the  best  is  the  romance  of  Lies, 
"  Adieu,  mon  doux  rivage,"  in  the  first  act. 
The  second  act  opens  with  a  beautiful 
slumber-song,  sung  by  Si'lika  to  Vasco  in 
prison,  "  Sur  mes  genoux,  fils  du  soleil." 
The  aria  of  Nelusko,  "  Fille  des  rois,  a  toi 
I'hommage,"  is  sombre  and  full  of  character. 


The  act  closes  with  a  vocal  septet  without 
accompaniment,  of  which  the  etlect  is  as 
novel  as  unforeseen.  In  the  third  act,  called 
the  Ship  Act,  are  the  graceful  chorus  of 
women,  "  Le  rapide  et  leger  navire  ;  "  the 
prayer,  "  O  grand  Saint-Dominicjue  ;  "  and 
the  invocation  of  Nelusko,  "  Adumastor,  roi 
des  vagues  profondes."  The  fourth  act 
opens  with  a  grand  Marche  indienne  which, 
for  originality  of  rhythm,  disi^ositiou  of  in- 
strumental masses,  and  taste  in  orchestra- 
tion, is  Meyerbeer's  masterpiece.  It  is  fol- 
lowed by  Vasco's  aria,  "  Paradis  sorti  du 
sein  de  Tonde,"  which  is  full  of  melodic 
phrases,  and  by  the  grand  duet  between 
Vasco  and  Selika,  "  Nuit  d'ivresse,"  which 
has  been  compared  with  the  duet  in  the 
fourth  act  of  the  Huguenots.  In  the  fifth 
act,  the  third  scene,  called  La  scene  du 
mancenillier,  opens  with  a  symphonic  prel- 
ude, which  is  one  of  the  best  of  Meyerbeer's 
compositions,  and  leads  to  Selika's  dying 
song  on  the  border  of  the  sea,  as  Vasco 
sails  away.  On  the  production  of  L'Afri- 
caine  in  London,  the  part  of  Selika  was  ably 
sustained  by  Pauline  Lucca,  whose  portrait 
is  given  opposite. — Clement  and  Larousse, 
9 ;  Hanslick,  Moderne  Oper,  144. 

AGAMEMNON,  burlesque  tragedy,  text 
and  music  by  Herve,  represented  at  the 
Folies  Nouvelles,  Paris,  in  May,  18.5G. 

AGAZZAEI,  AGOSTINO,  born  in  Siena, 
Dec.  2,  1578,  died  there,  April  10,  1640. 
He  began  his  professional  life  in  the  ser- 
vice of  the  Emperor  Matthias ;  subsequently 
went  to  Rome,  where  he  became  maestro 
di  cappella  at  the  German  College  before 
1(503,  at  the  Church  of  S.  Apollinaris,  and 
at  the  Seminario  Romano.  He  was  an  in- 
timate friend  of  Lodovico  Viadana  of  Man- 
tua, and  one  of  the  first  to  adopt  figured- 
bass,  introduced  by  the  latter,  for  the  em- 
ployment of  which  he  gives  instructions  in 
his  third  volume  of  ilotetti  (Zanetti,  Rome, 
1606).  In  1630-40  he  was  maestro  of  the 
cathedral  at  Siena.  He  was  a  member  of 
the  Academy  of  the  Armonici  Intronati. 
Agazzari  published   a  little  work   entitled 


15 


AGGIjS'TOrJO 


La  musica  ecclesiastica  (Sieua,  1638),  in- 
tended to  determine  bow  church  music 
should  conform  itself  to  the  Resolution  of 
the  Council  of  Trent.  Pitoui  ascribes  to 
him  the  pastoral  drama  of  Eumelio,  and 
Proske  gives  a  short  motet  of  bis  in  the 
Musica  divina  (Lib.  motettorum,  No.  Ixv.). 
His  compositions  consist  of  Madrigals, 
motets,  psalms,  magnificats,  and  litanies. 
Among  them  are  :  II  pi-imo  libro  de'  madri- 
gali ;  Madrigali  armoniosi,  etc.,  lib.  1  (Ven- 
ice, 1600) ;  Sacrse  cantiones,  lib.  1  (1602)  ; 
idem,  lib.  2  ;  idem,  lib.  3  (Rome,  1603)  ; 
Sacrse  cantiones  con  un  basso  ad  organum, 
lib.  1  (1603) ;  idem,  2,  3,  4  voc.  con  basso  ad 
organum,  lib.  2,  op.  5.  These  are  among  the 
first  books  published  with  basso  coutinuo. 
Besides  these  there  are  litanies,  and  other 
church  music  published  at  Rome  (1625, 
1639,  16'10),  which  went  through  several 
editions. — Fetis  ;  Grove  ;  Mendel ;  Schilling. 

AGGINTORIO,  ROCCO,  born  in  Naples 
about  1810,  still  living,  1888.  He  com- 
posed the  opera,  II  biglietto  e  1'  auello, 
given  in  Naples,  Teatro  del  Fondo,  1839, 
and  subsequently  settled  in  Paris  as  a 
teacher  of  vocal  music.  He  has  since  pub- 
lished some  compositions  for  the  pianoforte 
and  the  voice. — Fetis. 

AGNELLI,  SALVATORE,  born  at  Pa- 
lermo, Sicily,  in  1817,  still  living,  1888. 
Dramatic  composer,  pujjil  at  the  Conser- 
vatorio,  Naples,  of  Furno,  Zingarelli,  and 
Donizetti ;  brought  out  his  works  in  Na- 
ples and  Palermo,  and  went  to  Marseilles 
in  18i6.  "Works — Operas  :  I  due  piedauti, 
given  at  Naples,  Teatro  Nuovo,  183'!  ;  II 
lazzarone  napolitano,  ib.,  1838  ;  Una  notte 
di  carnovale  (opera  buffa),  Palermo,  Teatro 
Carolino,  1838 ;  I  due  gemelli,  I  due  for- 
zati,  ib.,  1839  ;  La  locandiera,  Naples,  Teatro 
Nuovo,  1839 ;  La  sentiuella  notturna,  ib., 
Teatro  Parthenope,  1840 ;  L'omicido  im- 
maginario,  I  due  pulcinelli  simili,  ib.,  Te- 
atro de  la  Fenice,  1841 ;  R  fautasma,  ib., 
1842  ;  La  jacquerie,  Marseilles,  1849 ;  Luo- 
nore  de  Medicis,  ib.,  1855  ;  Les  deux  avares, 
comic  opera,  ib.,  1860 ;  Cromwell ;  Stefania  ; 


Sforza ;  Calisto,  Blanche  de  Naples,  La 
Rose.  Ballets  ;  Apotheosis  of  Napoleon,  can- 
tata, performed  in  Paris,  1856 ;  Miserere  ; 
Stabat  mater. — Fetis,  Supplement,  i.  7. 

AGNES  VON  HOHENSTAUFEN, 
grand  opera  in  three  acts,  text  by  Ernst 
Raupach,  music  by  Spontini ;  first  act  rep- 
resented in  Berlin,  May  28,  1827,  the  en- 
tire work,  June  12,  1829.  Spontini,  dissat- 
isfied with  it,  had  the  libretto  revised  by 
Baron  von  Lichtenstein  and  others,  and 
made  many  changes  in  the  music.  In  this 
form  the  work  was  reproduced  in  Berlin, 
Dec.  6,  1837.  The  jslot  turns  on  the  recon- 
ciliation, during  the  struggle  between  the 
Guelphs  and  Ghibellines,  of  Henry  VI.,  of 
Hoheustaufen,  with  Henry  the  Lion,  of 
Brunswick,  through  the  marriage  at  Mentz, 
in  1194,  of  his  daughter  Agues  von  Hoheu- 
staufen with  Henrj',  the  sou  of  the  latter. 
Original  cast : 

Henry  the  Lion Herr  Fischer. 

Henry,  his  son Herr  Eichberger. 

Philip,  King  of  France Herr  Bader. 

Archbishop Herr  Zschiesche. 

Agnes  von  Hohenstaufen .  Fraulein  Fassman. 
Irmengarde Fraulein  Griinbaum. 

This,  the  last  opera  which  Spontini  com- 
pleted, is  one  of  his  best  works,  and  deals 
worthily  with  a  most  dramatic  period  of 
German  history.  The  same  subject  has 
been  treated  with  success  by  Frederick 
Slarpurg,  whose  work  was  given  at  Freiburg, 
Baden,  March  14,  1874. 

AGNES  SOREL,  opera  in  three  acts, 
music  bj'  Gyrowetz,  first  represented  in  Vi- 
enna in  1808.  The  hero  is  Charles  VE.  of 
France,  and  the  subject  the  deliverance  of 
his  realm  from  the  English  invasion  through 
the  eflbrts  of  Joan  of  Arc.  The  subject  has 
been  treated  also  by  De  Pellaert,  opera  in 
three  acts,  Brussels,  1823 ;  and  by  Miss  G. 
A.  Becket,  English  opera,  London,  1836. 

AGNESE  (Agnes),  Italian  opera,  two  acts, 
text  by  Luigi  Buonavoglia,  music  by  Fer- 
dinando  Paer,  first  represented  in  Parma, 
1810;   and   in  Paris,  July  24,   1819.     The 


16 


AGXESI 


libretto  is  an  adaptation  of  Mrs.  Opie's 
"  Father  and  Daughter,"  with  the  scene 
and  some  of  the  names  changed.  Charac- 
ters represented  :  Agnese,  Ernesto,  Pasquale, 
Uberto,  and  Don  Girolanio.  One  of  Paer's 
best  works  ;  often  reproduced,  and  alwaj's 
with  success.  It  contains  admirable  choruses 
and  a  grand  finale. — Musical  Rev.,  i.  230. 

AGNESI,  MARIA  TERESA,  born  at 
Milan  in  172-i,  died  about  1799.  Pianist 
and  dramatic  composer.  Works :  Sofo- 
nisba  ;  Giro  in  Armenia  ;  Nitroci  ;  and  lu- 
subria  consolata,  all  of  which  were  given  in 
1771  in  Naples,  Venice,  and  other  Italian 
cities.  She  wrote  also,  for  the  pianoforte, 
cantatas,  concertos,  and  sonatas,  well  known 
in  Germany. — Mendel. 

AGOSTI,  a  dramatic  composer  of  the 
18th  centur}',  settled  in  Russia,  about  whose 
life  nothing  is  known.  Several  of  his  comic 
operas  held  tlie  stage  suceessfullj' ;  as,  for 
instance :  An  Autumnal  Adventure,  or  the 
Squire  of  Giinsewitz,  which  wa.s  given  in 
Germany  after  1780. — Mendel. 

AGOSTINI,  LUDOVICO,  born  in  Fer- 
rara  in  1534,  died  there,  Sept.  20,  1590. 
He  took  holy  orders  and  became  maestro 
di  cappella  to  Alfonso  II.,  Duke  of  Este. 
Works  :  II  priino  libro  di  madrigali  a  5  voci 
(1570) ;  Madrigali  a  4  voci  (1572) ;  L'eco  ed 
enigmi  musicali  a  6  voci,  lib.  2  (Venice, 
1581) ;  Messe,  Vespri,  Motetti,  Madi-igali  et 
Siufonie  (Ancona,  1588).— Fetis  ;  Mendel. 

AGOSTINI,  PAOLO,  born  at  Vallerano, 
Italy,  in  1593,  died 
in    Rome   in   Sep- 
tember, 1G29.     He 
studied    in    Rome 
under  Bernardino 
Nanini,    whose 
daughter  he  mar- 
ried,   and   became 
organist  of  S.  Ma- 
ria in  Trastevere  ; 
later  he  was  maes- 
tro di   cappella  of  '  ■" 
S.  Lorenzo  in  Damaso,  and  finally,  in  1629, 
succeeded  Ugolini  as  maestro  of  the  Vatican 


Chapel.  He  was  among  the  first  to  employ 
a  number  of  voices  in  several  choirs.  A 
masterpiece,  the  Agnus  Dei,  for  eight  voices 
in  canon,  was  published  by  P.  Martini  in 
Saggio  di  contrappunto  fugato  ;  Proske 
gives  a  motet  in  his  Musica  diviua  (Liber 
motettorum,  No.  Ixx.).  His  most  famous 
works  are  preserved  in  manuscript  in  the 
Corsiui  Library  and  in  the  Vatican.  Works  : 
Psalms  for  four  and  eight  voices,  2  vols. 
(Soldi,  Rome,  1G19) ;  Magnificats  for  one, 
two,  and  three  voices  (ib.,  2  vols.,  1620) ; 
Masses  for  eight  and  twelve  voices,  5  vols. 
(Robletti,  Rome,  1621,  1625,  162G,  1627, 
1628.)— Fctis;  Grove;  Mendel;  Schilling. 

AGOSTINL  PIETRO  SIMONE,  born  in 
Rome  about  1650,  died  (?).  Dramatic  com- 
jioser,  maestro  di  cajipella  to  the  Duke  of 
Parma.  His  oj)era,  II  ratto  delle  Sabine, 
was  given  in  Venice  in  1680.  He  also  pub- 
lished some  cantatas  (Rome,  1680).  His 
Sicut  erat,  for  five  voices,  is  in  the  work  by 
Paolucci  styled :  Arte  j^ratica  di  contrap- 
punto, where  it  is  given  as  an  illustration 
of  fugue. — Fetis  ;  Mendel. 

AGRELL,  JOHANN,  born  at  LiUh, 
Sweden,  Feb.  1,  1701,  died  in  Nuremberg, 
Jan.  19,  1769.  He  studied  at  LinkOpiug 
and  at  Upsal  ;  became  court  musician  at 
Cassel  in  1723,  and  conductor  at  Nurem- 
berg in  1746.  Nine  of  his  works,  concertos, 
sonatas,  etc.,  were  published  at  Nuremberg 
(1761-64),  and  he  left  many  others  in  man- 
uscript.— Fctis  ;  Mendel. 

AGRICOLA,  ALEXANDER,  born  in  the 
Netherlands  in  1460-70,  died  in  Valladolid 
in  1520-30.  He  was  a  pupil  of  Okeghem, 
became  one  of  the  most  noteworthy  com- 
posers of  the  second  Flemish  school  of  con- 
trapuntists, and  was  distinguished  as  a 
singer  at  an  early  age.  He  left  tlie  service 
of  Charles  VIII.  of  France  for  that  of  Lo- 
renzo de'  Medici,  and  probably  passed  some 
time  in  Floi-ence.  About  1500  he  was  in 
the  service  of  Philip  the  Fair  at  Brussels  as 
"chaplain  and  singer,"  and  in  1506  he  fol- 
lowed either  him  or  Charles  V.  to  Spain, 
where  he  spent  the  remainder  of  his  days. 


AGRICOLA 


As  a  composer,  Agricola  is  distioguished 
from  the  rest  of  bis  school  by  a  peculiarly 
fantastic  style,  and  a  fondness  for  bizarre 
vocal  effects.  Yet  side  by  side  with  phrases 
of  almost  grotesque  extravagance,  and  in 
strong  contrast  to  them,  we  find  passages 
in  a  strangely  morose,  atrabiliar  sort  of 
counterpoint.  In  some  of  his  works,  how- 
ever, especially  in  the  superb  mass  "  Je  ne 
demande,"  he  shows  himself  to  be  on  a 
level  with  the  finest  geniuses  of  his  day. 
His  secular  chansons  were  probably  very 
popular,  but  his  talent  for  this  sort  of  wi-it- 
ing  was  small  ;  he  wholly  lacked  humour  and 
lightness  of  touch,  and  was  great  only  in 
the  grand  stj-le.  His  published  works  are : 
Some  motets  in  Motetti  XXXIH.  (Venice, 
Petrucci,  1502) ;  8  four-part  songs  in  the 
Canti  cento  ciuquanta  (ib.,  1503) ;  a  vol- 
ume of  5  masses,  Misse  Alex.  Agricolae  (ib., 
1505).  Several  important  works  are  in  MS. 
in  the  Vienna  Library  (Codex  A.  N.,  35 ; 
Cod.  E.,  133 ;  Cod.  N.,  1783),  and  probably 
many  more  are  to  be  found  in  Spanish  ca- 
thedrals.— Ambros,  iii.  243  ;  Grove,  i.  44. 

AGKICOLA,  GEORG  LUDWIG,  born 
at  Grossen-Furra,  Thuringia,  Oct.  25,  1643, 
died  at  Gotha,  Feb.  22,  1676.  He  studied 
at  Eisenach  (1656),  Gotha  (1662),  and  at 
the  Universities  of  Wittenberg  and  Leipsic, 
and  became  Kapellmeister  at  Gotha  in  1670. 
Works :  Musikalische  Nebenstunden,  for  two 
violins,  two  violas,  and  bass  (1670) ;  Sonaten, 
Prfcludien,  Allemanden  couranten  Balleten 
auf  franzosische  Art  (1675) ;  Deutsche  geist- 
liche  Madrigalien  von  zwey  bis  sechs  Stim- 
men  (Gotha,  1675).— Fetis ;  Gerber,  N. 
Lex. 

AGRICOLA,  JOHANN,  born  at  Nurem- 
berg about  1570,  died  (?).  Professor  of  music 
at  the  Gj'mnasium  Augusti  at  Erfurt,  where 
he  still  lived  in  1611.  Works  :  Motetten 
mit  vier,  fiinf,  sechs,  acht  und  mehr  Stimmeu 
(Nuremberg,  1601) ;  Cantiones  de  prseeijjuis 
testis,  quinque,  sex  et  plurimum  vocum 
(Nuremberg,  Conrad  Bauer,  1601) ;  Motetaj 
novae  pro  prsecipuis,  etc,  containing  twenty- 
eight  motets  (Erfurt,  1611).— Fetis. 


AGRICOLA,  JOHANN  FRIEDRICH, 
born  at  Dobitschen,  Saxe-Alteuburg,  Jan.  4, 
1720,  died  in  Berlin,  Nov.  12  (or  Dec.  1), 
1774.  Dramatic  composer,  began  to  learn 
music  at  the  age  of  five  under  a  certain 
Martini ;  having  entered  the  university  at 
Leipsic  in  1738,  he  studied  music  at  the 
same  time  under  Sebastian  Bach,  for  three 
years  ;  after  a  visit  to  Dresden  he  went  in 
1741  to  Berlin,  where  he  soon  attracted  at- 
tention by  his  organ  playing,  and  studied 
composition  under  Quantz.  Devoting  him- 
self now  chiefly  to  the  dramatic  style,  he 
took  Graun  and  Hasse  for  his  models,  and 
with  the  opera  buffa,  II  filosofo  convinto 
in  amore,  performed  at  the  theatre  in  Pots- 
dam, 1750,  won  the  applause  of  Freder- 
ick the  Great,  who  conferred  upon  him  the 
title  of  Hofcomponist  (court-composer)  in 
1751.  Ha^^ug  written  another  opera,  La 
ricamatrice  divenuta  dama,  for  Potsdam, 
he  visited  Dresden  again  in  1751,  and  in 
the  same  year  married  the  singer  Benedetta 
Emilia  Molteni  of  the  Berlin  Opera.  On  the 
death  of  Graun,  in  1759,  he  was  appointed 
director  of  the  royal  chapel,  although  with- 
out the  title  of  KajDellmeister.  Besides 
operas,  he  wrote  sacred  cantatas  and  instru- 
mental music,  was  considered  the  best  or- 
ganist in  Berlin,  reputed  as  a  vocal  teacher, 
and  distinguished  as  a  writer  on  music.  Of 
his  compositions  only  the  twenty-first  jjsalm 
and  some  chorals  have  been  published  ; 
the  manuscrif)ts  of  all  others  are  preserved 
in  the  royal  library,  Berlin.  Works — Op- 
eras :  H  re  pastore,  given  at  Berlin,  1753  ; 
Cleofile,  ib.,  1754 ;  II 
tempio  d'  amore,  ib., 
1755;  Psyche,  ib., 
1756  ;  Achille  in  Sciro, 
ib.,  1758  ;  Ifigenia  in  Tauride,  ib.,  1765. 
— Allgem.  d.  Biogr.,  i.  149 ;  Fetis  ;  Mendel. 
AGRICOLA,  WOLFGANG  CHRIS- 
TOPH,  German  composer  of  the  middle  of 
the  17th  century.  Works  :  Fasciculus  mu- 
sicalis,  a  collection  of  eight  masses  (Wiirz- 
burg  and  Cologne,  1651) ;  Fasciculus  vari- 
arum  cantiouum,  a  collection  of  motets  for 


{J'C/if-i'OaL^ 


18 


AGRIPPINA 


two  to  eight  voices. — Petis  ;  Mendel,  Er- 
giiiiz.,  6. 

AGRIPPINA,  Italian  opera,  author  of 
text  uukuowii,  music  by  Handel,  repre- 
sented at  the  Teatro  di  S.  Giovanni  Cri- 
sostomo,  Venice,  in  1708.  The  libretto  is 
founded  on  the  story  of  Agrippiua,  wife  of 
the  Roman  Emperor  Claudius,  who  poi- 
soned her  husband  (a.d.  5-4)  in  order  to  se- 
cure the  succession  of  her  young  son  Nero, 
through  whom  she  hoped  to  rule  the  em- 
pire. This  work,  Handel's  second  Italian 
opera,  which  is  said  to  have  been  written  in 
three  weeks,  was  received  with  enthusiasm, 
and  held  the  stage  in  Venice  more  than 
twenty  years.  It  was  given  in  Hamburg, 
1718.  Score  printed  first  by  Arnold,  the 
entire  work  by  the  Hilndelgesellschaft, 
1781.  The  same  subject  is  treated  in 
an  Italian  opera  by  Porpora,  represented 
about  1742.— Schoelcher,  Handel,  17  ;  Rock- 
stro,  Handel,  48. 

AGTHE,  CARL  CHRISTIAN,  born  at 
Hettstildt,  Prussian  Saxony,  in  1762,  died 
at  Ballenstiidt,  Nov.  27,  1797.  Dramatic 
composer  and  organist  to  the  Prince  von 
Buruburg  at  Ballenstiidt.  Works — Operas  : 
Aconeius  uud  Cydippe,  given  at  Ballenstiidt 
about  1784;  Das  Milchmildcheu,  ib.,  about 
1787 ;  Martin  Velten,  ib.,  about  1789 ;  Ei-- 
win  und  Elmire,  ib.,  about  1789 ;  Philemon 
und  Baucis,  ib.,  about  1791 ;  Der  Spiegel- 
ritter,  ib.,  1795.  His  sonatas  for  the  pia- 
noforte were  published  at  Leipsic  in  1790  ; 
his  Lieder,  Der  Morgen,  Mittag,  Abend  und 
Nacht  at  Dessau,  1782.— Fetis  ;  SchilHng. 

AGUADO,  DIONISIO,  born  in  Madrid, 
April  8,  1784,  died  there,  Dec.  20,  1849. 
He  studied  in  Paris,  under  Garcia,  in 
1825,  returned  to  Madrid  in  1838,  and 
became  one  of  the  greatest  of  performers 
on  the  guitar.  He  published,  in  1825, 
"New  Method  for  the  Guitar."  Among  his 
compositions  are  a  collection  of  andantes, 
waltzes,  and  minuets,  solos,  transcriptions, 
etc. 

AGUILAR,  EMANUEL,  born  in  Clap- 
ham,   London,   Aug.   23,  1824,  still  living. 


1888.  Dramatic  composer  and  pianist,  pu- 
pil of  Schnyder  von  Wartensee  at  Frank- 
fort, where  he  lived  in  1844-48,  gave  con- 
certs, and  brought  out  some  of  his  compo- 
sitions ;  after  his  return  to  Loudon  he 
taught  the  pianoforte.  Works  :  The  Bridal 
of  Triermain,  dramatic  cantata  ;  A  Summer 
Night,  cantata  for  treble  voices ;  Goblin 
Market,  do. ;  The  Bridal  Wreath,  opera  ; 
Symjjhonies,  overtures,  trios,  sonatas,  etc., 
in  MS.,  which  have  been  performed  at  con- 
certs ;  Pianoforte  music,  and  songs. — Fetis. 

AGUILERA  DE  HEREDIA,  SEBAS- 
TIAN, Spanish  composer  of  the  17th  cen- 
tury. He  was  a  monk,  and  director  of 
music  in  the  Cathedral  of  Saragossa.  His 
valuable  collection  of  INIagnificats,  for  four, 
five,  six,  seven,  and  eight  voices  (Saragossa, 
1618)  is  still  used  in  Saragossa  and  in  other 
churches  in  Spain. — Ft'tis  ;  Mendel. 

AGUIRRE,  ABELINO,  born  in  Spain, 
contemporary.  Composer  of  the  opera,  Gli 
amanti  di  Teruel,  given  at  Valencia,  1865. 

AH  !  BEL  DESTIN.     See  Linda. 

AH !  BELLO,  A  IVIE  RITORNA.  See 
Norma. 

AH  !  CHE  LA  MORTE.     See  Trovatore. 

AH!  CHI  ME  DICE  MAI.  See  Don 
Giovanni. 

AH!  COME  RAPID  A.  See  Grociato  in 
Egitto. 

AH !  DI  TUE  PENE.     See  Linda. 

AH  !  DIVINITES  BIPLACABLES.  See 
Alcpsle,  Gluck. 

AH  !  FORS'  E  LUI.     See  Traviata. 

AH  !  GRAN  DIO.     See  Tninala. 

AH!  LHONNfiTE  HOMME.  See  Ro- 
bert le  Diable. 

AH,  LO  PREVIDI,  scena  for  soprano, 
by  Mozart,  composed  at  Salzburg,  in  August, 
1777.  Aria  of  Andromeda,  words  from  Pai- 
siello's  opera  of  that  name.  One  of  the 
grandest  compositions  of  its  kind.  An  ex- 
pressive recitative  is  followed  by  an  elab- 
orate allegro,  in  which  the  excited  passion 
of  a  great  soul  finds  a  powerful  and  vivid 
expression.  A  motive  that  had  previously 
been    introduced   by    the  orchestra   forms 


AH!  MIO 


then  the  trausitiou  to  a  softer  mood,  ex- 
pressing the  grief  over  the  lost  lover  in  a 
beautiful  recitative,  which  ends  in  a  cava- 
tina. — Jahn,  i.  424. 

AH  !  MIO  PREGAR.     See  Semiramide. 

AH  !  MON  FILS,  SOIS  BENI.  See  Pro- 
plliti'. 

AH!  MON  REMORDS  TE  VENGE. 
See  Dinorah. 

AH  !  MORIR  POTESSI  ADESSO.  See 
Emani. 

AH !  NON  GIUNGE.     See  Sonnamhula. 

AH  PERFIDO  !  sceua  and  aria  for  so- 
prano, with  orchestra,  music  by  Beethoven, 
op.  G5  ;  dedicated  to  the  Countess  Clari  ; 
composed  in  Prague,  February,  1796,  and 
published  in  Vienna  (Artaria,  pianoforte 
arrangement),  1810.  It  consists  of :  1.  An 
elaborate  Recitative ;  2.  Adagio,  with  ap- 
isendix  ;  3.  Movement  in  Lied  form.  Alle- 
gro assai  ;  4.  do.,  Piii  lento  ;  5.  do.,  Alle- 
gro assai  ;  6.  do.,  repetition  of  4 ;  7.  An 
elaborate  Finale,  Allegro  assai,  and  repeti- 
tion of  4.  All  these  movements  are  attract- 
ive and  expressive  of  the  supposed  situation  ; 
the  recitative  is  to  be  ranked  with  the  best 
of  Mozart's.— Marx  (Berlin,  1875),  i.  114. 

AH !  PIETA,  SIGNORI  MIEI.  See  Don 
Giovanni. 

AH !  QUE  JE  SENS  DIMPATIENCE. 
See  Azetnia. 

AH!  QUE  MON  SORT  EST  BEAU  I 
See  Ambassadrice. 

AH!  QUELLE  NUIT.  See  Domino 
Doir. 

AH!  QUEL  PLAISIR.  See  Dame 
blanche. 

AH!  SI  LA  LIBERT E.  See  Armide  et 
Renaud. 

AH  !  TACI,  INGIUSTO  CORE.  See  Don 
Giovanni. 

AH  !  TU  GELAR  MI  FAT.  See  Semira- 
mide. 

AHLE,  JOHANN  GEORG,  born  at  Miihl- 
hausen,  Tluiringia,  died  Dee.  2,  1706.  Or- 
ganist and  composer  of  hymns,  which  were 
popular  in  their  day,  and  poet-laureate  to 
the  Emperor  Leopold  I.  (1680).     He  suc- 


ceeded his  father  as  organist  of  the  Church 
of  St.  Blasius.  Works  :  Anmutige  zehn  vier- 
stimmige  Viol  di  Gamba-Sjjiele  (1681)  ; 
Instrumeutalische  Friihlingsmusik  (1695, 
1696) ;  manj-  Songs.  He  was  also  a  jjrolitic 
writer  on  music,  and  from  1671  to  1706 
published  a  work  yearly,  either  theoretical 
or  practical.  Most  of  these  were  destroyed 
in  the  great  lire  at  Miihlhausen  in  1689, 
and  the  others  are  very  rare. — Allgem.  d. 
Biogr. ;  Fetis  ;  Mendel ;  Schilling  ;  Winter- 
feld,  ii.  328. 

AHLE,  JOHANN  RUDOLPH,  born  at 
Miihlhauisen,  Thuringia,  Dec.  24,  1625,  died 
there,  July  8,  1673.  He  was  educated  at 
GOttingen  and  at  Erfurt.  In  1644  he  be- 
came organist  at  the  latter  place,  and  in 
1646  was  appointed  director  of  the  new 
music  school  there.  On  his  return  to  Miilil- 
hausen  he  became  organist  of  the  Church  of 
St.  Blasius,  and  also  councillor  and  burgo- 
master of  that  town.  His  treatise  on  sing- 
ing. Compendium  pro  teuellis  (Erfurt,  1638), 
went  through  three  editions.  Among  his 
best  known  works  are  :  Geistliche  Dia- 
logen  (1648) ;  thirty  Symphonien,  Paduane, 
Balleten,  etc.,  for  instruments  (1650) ;  Thii- 
ringische  Lust-Garten,  in  two  parts,  for 
voices  (1657-1658);  ten  Geistliche  Arien 
(1660) ;  2d  series  of  ten  (Miihlhausen,  1662) ; 
third  and  fourth  series  of  ten  songs  (1663- 
1664).  These  and  many  other  collections  of 
hymns,  motets,  etc.,  appeared  at  Miihl- 
hausen and  Erfurt,  until  1668.  His  hymn : 
Liebster  Jesu,  wir  siud  hier,  was  his  best 
and  is  still  in  use,  with  many  others. — AU- 
gera.  d.  Biogr.,  i.  159  ;  Fetis  ;  Mendel  ;  Spit- 
ta,  J.  S.  Bach,  i.  331 ;  Winterfeld,  ii.  296. 

AHLEFELDT,  Griifin  VON,  German 
pianist  at  the  close  of  the  18th  century. 
She  wrote  the  music  of  an  opera  ballet : 
Telemach  und  Kalypso  (Leipsic,  1794). — ■ 
Fetis,  Supplement,  i.  8  ;   Mendel. 

AHLSTROM,  OLOF,  born  in  Stockholm, 
Sweden,  about  1756,  died  there  in  1835. 
He  was  court  pianist  and  musical  instruc- 
tor of  the  royal  family,  and  about  1790 
was  among  the   best  dramatic  composers. 


AHLSTROM 


With   Boman,   lie    edited   a   collecLioii    of 
Swedish    popular    airs,     "  Walda    svenska 
Folkdansar    och    Folkledar "    (Stockliolm), 
some  of  which  were  sung  by  Jenny  Lind 
Goklschmidt,  and  for  two  years  edited  a 
Swedish   musical   periodical,   "  Musikaliskt 
Tidsfiirdrif."  Works:  4  sonatas  for  pianoforte 
(Stockholm,  1783,  178G);  also  operas,  can- 
tatas, and  soiigs.— Fetis  ;  Mendel ;  Schilling. 
AHLSTROM,  JOHAN  NICLAS,  born  at 
Wisby  on   the  isle  of  Gothland,   Sweden, 
June  5,  1805,  died  at  Stockholm,  May  14, 
1857.     Dramatic  composer,  studied  music 
in  his  native  place  and,  chiefly  without  a 
master,  while  at  the  University  of  Upsala  ; 
after  returning  home,  he   travelled  as  or- 
chestra conductor  with  a  theatrical  company, 
and  settled  at  Carlskrona  to  teach  music. 
Having    afterwards    become   organist   and 
musical  director  at  Westerns,  he  was  called 
to  Stockholm  in  1842  as  conductor  at  the 
newly  erected  Nya  Theatern.     From  1845 
he   held   different   positions  as  instructor, 
orchestra  conductor  at  various  theatres,  and 
organist.      He    deserves    much   credit   for 
having   searched  for   and   arranged   many 
popular   melodies.     Among   his  numerous 
compositions   are    the   operas  :  Alfred    the 
Great,  and  Abu  Hassan  ;  Music  to  the  trag- 
edy of  Agne  ;  Several  cantatas  ;  6  quartets 
for  stringed  instruments  ;  Sonata  for  piano- 
forte, violin,  viola,  and  violoncello  ;  Quintet 
for  flute,  two  viohns,  viola,  and  violoncello  ; 
Trio  ;  Concerto  for  pianoforte,  with  orches- 
tra.— Mendel,  Erganz.,  6. 

AIBLINGER,  JOHANN  CASPAR,  born 
at  Wasserburg,  Bavaria,  Feb.  23,  177'J,  died 
in  Munich,  May  6,  1867.  He  began  his 
musical  education  at  the  seminary  of  Te- 
gernsee  in  1790,  then  went  to  Munich,  where 
he  secured  a  pension  which  allowed  him  to 
study  in  Italy.  At  Bergamo  in  1802  he 
wrote  music  under  the  direction  of  Mayr, 
was  patronized  by  the  Vice-Queen  of  Italy, 
and  went  to  Milan  as  Kapellmeister  to  the 
royal  chapel.  He  afterwards  went  to  Ven- 
ice, where,  in  conjunction  with  the  Abbe 
Gregorio  Treutiuo,  he  founded  the  Odeou 


Institution.  On  the  death  of  Winter,  in 
1825,  he  was  recalled  to  Bavaria  and  ap- 
pointed Kapellmeister  to  the  court.  In 
1833  he  revisited  Italy,  was  made  a  member 
of  the  Academy  of  St.  Cecilia  at  Rome,  and 
settled  at  Bergamo,  where  he  collected  an- 
cient classical  music,  now  in  the  Staatsbiblio- 
thek,  Munich.  Works :  Bianca,  ballet  (Milan, 
1820) ;  I  Titani,  ballet  (ib.,  1820) ;  Rodrigo 
und  Chimeue,  opera,  given  at  Munich, 
1821 ;  Requiems,  Masses,  Litanies,  Psalms, 
Offertories,  etc.,  with  full  vocal  and  instru- 
mental choirs.  Most  of  his  church  music, 
which  is  written  with  great  skill,  has  been 
published  in  Munich,  Augsburg,  and  Paris, 
and  one  pastorale  for  organ  in  Milan. — All- 
gem,  d.  Biogr. ,  i.  163  ;  Fetis  ;  ilendel ;  Grove. 
AICH,  GOTTFRIED,  composer  of  church 
music,  and  canon  of  the  Order  of  Premon- 
strants  in  the  17th  century.  He  published 
at  Augsburg,  in  1663,  a  work  entitled : 
Fructus  ecclesiasticus  trium,  quatuor  et 
quinque  vocum,  duorum  vel  trium  lustrum, 
cum  secundo  choro. — Fetis. 

AICHINGER,  GREGOR,  born  at  Augs- 
burg (?)  about  1565,  died  after  1614.  Hav- 
ing taken  holy  orders,  he  became  organist  at 
Augsburg  in  the  service  of  Jacob  Fugger, 
baron  of  Kirchberg  and  Weissenhorn.  In 
1599  he  visited  Rome,  and  spent  two  years 
in  study.  His  works  show  the  influence  of 
the  Venetian  school.  His  Madrigals,  Can- 
tatas, Litanies,  etc.,  are  among  the  best 
German  compositions  of  the  time.  Works  : 
Lib.  i.  Sacrarum  cantionum  and  Lib.  ii. 
Sacrarum  cantionum  (Venice,  1590-1595) ; 
Sacrte  cantiones,  dedicated  to  the  chapter 
of  the  cathedral  at  Augsburg  (Nuremberg, 
1597) ;  Tricinai  Mariana  quibus,  Antiphorse, 
etc.  (Innspruck,  1598) ;  Diviupe  laudes,  etc. 
(1602) ;  Vespertini  Virginia  canticum  (Augs- 
burg, 1604) ;  Cantiones  ecclesiasticaj,  etc. 
(Dillingen,  1607);  this  work  is  especially 
remarkable  for  being  one  of  the  first  where- 
in the  words  basso  continuo  appear.  His 
church  compositions  number  iu  all  seven- 
teen, published  up  to  the  year  1613. 
Proske  gives  a  Litany,  Stabat  mater,  and 


21 


AIDA 


several  motets  by  him,  in  his  Musica  divina ; 
aud  the  library  of  the  King  of  Portugal  con- 
tains several  of  his  motets  for  three  and  four 
voices. — Allgem.  d.  Biogr  ,  i.  165  ;  Ambros, 
Gesch.,  iii.  5G0  ;  Fotis  ;  Grove  ;  Schilling. 

AIDA,  Italian  opera  seria  in  four  acts  and 
seven  tableaux,  text  by  Antonio  Ghizlan- 
zoui,  music  by  Giuseppe  Verdi  ;  first  rej^re- 
sented  in  Cairo,  Egypt,  Dec.  24,  1871.  It 
was  written  upon  commission  of  the  Khe- 
dive Ismail  Pasha,  given  in  August,  1870, 
for  the  inauguration  of  the  new  opera- 
house  in  Cairo.  The  subject  is  said  to  have 
been  suggested  by  the  Khedive  himself. 
The  libretto  was  prepared  in  prose  by  M. 
Vassali,  conservator  of  the  Boulak  Museum, 
then  rendered  into  French  verse  by  Camille 
du  Locle,  and  lastly  translated  into  Italian 
verse  by  Ghizlanzoni.  The  scenery  and  cos- 
tumes were  designed  by  Mariette  Bey,  the 
distinguished  Egyptologist.     Original  cast : 

Aida  (S.) Signora  Pozzoni. 

Amneris  (M.-S.) Signora  Grossi. 

Ridames  (T. ) Signor  Mongini. 

Amouasro  (Bar.) Signor  Costa. 

Ramphis  (B. ) Signor  Medini. 

King  (B.) Steller. 

Aida,  daughter  of  Amouasro,  King  of 
Ethiopia,  has  been  made  a  prisoner  in  a 
war  between  her  father  aud  the  King  of 
Egypt,  and  has  become  the  slave  of  Amne- 
ris, daughter  of  the  latter.  Amneris  is  in 
love  with  Radames,  au  Egyptian  captain, 
who  secretly  loves  and  is  loved  by  Aida. 
When  the  High  Priest,  Ramphis,  announces 
the  approach  of  the  Ethiojiians  against 
Thebes,  Radames,  who  is  ignorant  of  the 
relatiouship  between  Amonasro  and  Aida, 
is  chosen  by  Pharaoh  to  lead  the  Egyjjtiau 
hosts.  During  Radames's  absence  Amneris 
discovers  Aida's  secret  and  conceives  for 
her  a  violent  hatred.  Radames  returns  vic- 
torious, with  Amonasro  his  prisoner,  aud  is 
awarded  a  triumph  and  the  hand  of  Am- 
neris. Acting  under  the  instructions  of 
Amonasro,  who  has  formed  a  plan  to  re- 
cover his  liberty  and  his  kingdom  through 


the  aid  of  Radames  and  to  marry  his 
daughter  to  him,  Aida  persuades  her  lover 
to  betray  to  her  the  secrets  of  the  military 
operations  preparing  against  Ethiopia  and 
to  fly  with  her  ;  but  their  j)lans  are  over- 
heard by  Amneris  and  Ramjahis,  and  Rada- 
mes is  denounced  as  a  traitor.  Condemned 
to  be  buried  alive  beneath  the  Temjjle  of 
Phtah,  Radames  is  offered  a  jiardon  if  he 
will  marry  Amneris,  but  he  refuses,  and  de- 


**%N  \", 


Clara  Louise   Kellogg,   as  Aida. 

scends  into  the  vaults,  where  Aida  awaits 
him.  The  tomb  is  walled  up  and  sealed 
by  the  priests,  and  the  lovers  are  united  in 
death,  while  Amneris,  abandoning  herself  to 
grief,  prays  beside  their  seijulchre.  The 
first  representation  of  Aida  in  Europe  was 
at  La  Scala,  Milan,  Feb.  8,  1872,  with  Si- 
gnore  Teresina  Stolz  and  Waldmaun,  and 
Signori  Fancelli,  Pandolfini,  and  Maini  in 
the  cast.  The  opera  was  given  in  Naples 
in  March,  and  in  Parma  in  April,  1872 ;  in 
New  York,  1873 ;  in  Paris,  at  the  Italiens, 
April  22,  1876,  aud  at  the  Opera,  March 
22,  1880 ;  and  in  London,  June  22,  1876.   A 


AIGNER 


Russian  version  was  given  in  St.  Petersburg 
in  1879 ;  a  German  version  in  New  York, 
Metropolitan  Opera  House,  Nov.  12,  1886  ; 
and  an  Eni^lisli  version  at  the  Brooklyn 
Academy,  Dec.  29,  1886,  and  at  the  Met- 
ropolitan Opera  House,  March  5,  1887. 
Among  the  noteworthy  numbers  in  the 
first  act  are :  The  romanza  of  Radames, 
"  Celeste  Aula  ;  "  the  martial  chorus  of  the 
King  and  his  retinue,  "  Su  !  del  Nilo  al 
sacro  lido  ; "  and  the  scena  of  A'ida,  "  Ri- 
torna  vincitor ! "  The  second  act  opens 
with  a  chorus  of  women,  which  is  followed 
by  a  duet  between  Amneris  and  A'ida,  "  Alia 
pompa  che  si  appresta,"  and  closes  with  a 
grand  triumphal  chorus,  "  Gloria  all'  Egit- 
to."  In  the  third  act  are  the  prayer  of 
Aida,  "  O  cieli  azzuri,"  and  duets  between 
Amonasro  and  Aula,  and  Radames  and 
Aida.  The  last  act,  which  contains  an  im- 
pressive duet  between  Radames  and  Am- 
neris, "  Chi  ti  salva,  o  sciagurato,"  closes 
with  the  plaintive  dying  song  of  Radames 
and  Aida,  "  O  terra,  addio,"  while  the  priests 
and  priestesses  chant  in  the  temple  above 
their  tomb. — Clement  and  Larousse,  767  ; 
Hanslick,  Moderne  Oper,  2-17;  Edwards, 
Lyrical  Drama,  ii.  1. 

AIGNER,  ENGELBERT,  born  in  Vien- 
na, Feb.  23,  1798,  died  in  (?).  Dramatic 
composer,  pupil  of  the  Abbot  Stadler  ;  in 
1835-37  he  was  director  of  the  ballet  or- 
chestra at  the  imperial  theatre,  then  started 
an  industrial  enterprise  in  the  provinces, 
and  in  1842  returned  to  Vienna,  where  he 
cultivated  music  as  an  amateur.  Works  : 
Wunderlilie,  opera,  given  in  Vienna, 
Kiirnthnerthor  Theater,  about  1824;  Das 
geheime  Fenster,  comic  opera,  ib.,  1826  ; 
Der  Angriffsplan,  do.,  ib.,  1829  ;  Das  Hoch- 
zeitsconcert,  vaudeville,  ib.,  1829  ;  Lob  der 
Tonkunst,  cantata,  ib.,  183.5;  Mass  for  four 
voices  (Vienna,  Haslinger)  ;  Quintet  in  G 
(ib.,  Diabelli)  ;  6  choruses  for  male  voices 
(ib.,  Artaria) ;  Masses  with  orchestra,  and 
a  Requiem,  unpublished. — Fetis  ;  Mendel. 

AIMON,  PAMPHH^E  LEOPOLD  FRAN- 
COIS, born  at  LTsle,  Vaucluse,  Oct.  4,  1779, 


died  in  Paris,  Feb.  2,  1866.     Dramatic  com- 
poser,  son  and  pupil   of    the   violoncellist 
Esprit  Aimon  (1754-1828).     When  but  sev- 
enteen he  conducted  the  orchestra  of  the 
theatre  at  Marseilles,  and  in  1817  settled  in 
Paris,  where  he  became  leader  of  the  or- 
chestra   at   the   Gymnase   Dramatique    in 
1821,  and  at  the  Theatre  Franyais  in  1822. 
Among  his  compositions,  those  for  chamber 
music  are  the   most  meritorious,  showing 
great  inventive  talent  and  originality.     He 
also   wrote    some    treatises    on    harmony. 
Works — Operas  :  Les  jeux  fioraux,  3  acts, 
libretto  by  Bouilly,  given  in  Paris,  Acade- 
mie  royale  de  musique,  Nov.  16,  1818 ;  La 
fee    UrgMe,    comic    opera,    ib.,    Gymnase, 
1821 ;    Velleda,   5    acts,   libretto   by  Jouy, 
ib..  Opera,  1824 ;  Abufar,  3  acts,  Alcide  et 
Omphale,  Les  Cherusques,  written  for  the 
Opera  ;  Les  deux  Figaros,   for  the   Opera 
Comique,  none  of  which  were  performed  ; 
Quintet  for  two  violins,  two  violas,  and  vio- 
loncello (Paris,  Janet) ;  3  quartets  for  two 
riolins,  viola,   and   violoncello,   op.  4   (ib., 
Hanry) ;  3  do.,  op.  6  (ib.,  Momigny) ;  do.,  op. 
7,  8,  9  (ib.,  Hentz) ;  do.,  op.  43,  46  (ib.,  Pa- 
cini);  3  do.,  op.  47  (ib.,  Janet);  do.,  book 
4  (ib.,  Frey);  3  new  do.,  books  5-8  (ib.)  ; 
Concertino    for    violoncello    (ib.,    Pacini)  ; 
Recreation  for  two  violoncellos,  horn,  and 
pianoforte  (ib.);  Solo  for  clarinet,  with  ac- 
companiment of  quartet  or  pianoforte  (Ly- 
ons, Arnaud) ;  First  and  second    concerto 
for  bassoon  (Paris,  Frey) ;  Quartet  for  pia- 
noforte (ib.,  Pacini) ;  Duets  for  guitar  and 
violin  (ib.,  Gaveaux) ;  Several  trios  and  duets 
for    violin. — Fetis  ;    do..    Supplement,    i.  ; 
Mendel. 

AIROLDI,  born  in  Italy,  contemporary. 
Dramatic  composer,  pupil  of  Pietro  Ray 
and  of  Vaccai  at  the  Conservatorio,  Milan. 
Works  :  Don  Gregorio  nell'  Imbarazzo,  op- 
era buffa,  given  in  Venice,  1850 ;  Adriano 
in  Siria,  opera,  ib.,  about  1852  ;  Statira,  Re- 
gina  di  Persia,  Milan,  about  1853. — Fetis. 

AJAX,  music  to  the  tragedy  of  Sophocles, 
by  Sir  William  Stei-ndale  Bennett,  op.  45. 

AJO  NELL'  BIBARAZZO,  L'  (The  Em- 


23 


AKADEMISCHE 


barrassed  Tutor),  Italian  ojsera,  music  by 
Donizetti,  reiDi-esented  in  Rome,  1824.  An 
opei"a  of  the  same  title,  by  C!elli,  was  per- 
formed in  Italy  about  the  same  time.  See 
Don  Gregoi'io. 

AKADEMISCHE  FEST-OUVERTURE, 
for  full  orchestra,  by  Brahms,  op.  80,  com 
posed,  1881,  in  acknowledgment  of  the  de- 
gree of  Ph.D.,  conferred  upon  him  by  the 
Uuiversit}'  of  Breslau. 

A'  IvEMPIS,  FLORENTINO,  Flemish 
composer  of  middle  of  17th  century.  Or- 
ganist  of   St.   Gudule,  Brussels.      Works  : 

3  symphonies  (Antwerp,  1644-47-49) ;  Mass 
for  eight  voices  ;  Misspe  et  motettse  (Ant- 
werp, 1650) ;  Missa  pro  defunctis  otto  vo- 
cum. — Fetis  ;  Mendel,  Ergiinz.,  7. 

AKEROYDE,  SAMUEL,  born  in  York- 
shire, England,  latter  half  of  the  17th  cen- 
tury, died  (?).  He  contributed  songs  to  the 
Third  Part  of  D'Urfey's  Don  Quixote  in 
1696.  His  songs  are  also  found  in  the 
Theatre  of  Music  (1685-87),  Vinculum  so- 
cietatis  (1687),  Comes  amoris  (1687-94), 
Gentleman's  Journal  (1692-94),  Thesaurus 
musicus  (1693-96),  and  other  collections. — 
Grove ;  Fetis. 

A  LA  FRONTlfiRE,  cantata,  music  by 
Gounod,  first  j^erformed  in  Paris,  1870. 

ALA,  GIOVANNI  BATTISTA,  born  at 
Monza,  Italy,  in  1580,  died  in  1612.  Or- 
ganist of  the  Church  dei  Servitori,  Milan. 
Works :  Madrigals  and  canzonets  (Milan, 
1617,   1625) ;  Concerti  ecclesiastici  (Milan, 

4  vols.  1618,  1621,  1628);  and  motets  in 
the  Pratum  musicum  (Antwerp,  1634). — 
Fi'tis;  Mendel. 

ALADIN ;  or,  La  lampe  merveilleuse  (The 
Wonderful  Lamp),  French  opera  in  five  acts, 
text  by  Etienne,  music  by  Isouard  ;  first 
represented  at  the  Opera,  Paris,  Feb.  6, 
1822.  Subject  from  the  "  Ai-abian  Nights." 
This,  the  last  work  of  Isouard,  was  left  un- 
finished at  his  death  (1818),  and  was  pre- 
pared for  the  stage  by  Benincori.  Although 
it  exhibits  evidences  of  the  composer's  de- 
cadence, it  met  with  wonderful  success, 
partly  due  doubtless  to  its  splendid  spec- 


tacular effects.  The  Op^ra  was  lighted 
with  gas  for  the  first  time  on  its  represen- 
tation. The  subject  has  been  treated  also 
by  Gyrowetz,  German  opera  in  three  acts, 
Vienna,  about  1822  ;  by  BishoiJ,  English  op- 
era, Covent  Garden,  Loudon,  1826  ;  by  Karl 
Guhr,  Frankfort,  1830  ;  and  by  Luigi  Ricci, 
Naples,  1835. 

ALARD,  DELPHIN,  born  at  Bayonne, 
France,  March  8, 
1815,  still  living,  1888. 
Violinist,  son  and  pu- 
pil of  au  amateur 
musician  ;  when  only 
ten  years  old  he 
played  a  concerto  of 
Viotti's  in  public.  In 
1827  he  went  to  Paris, 
became  a  pupil  of  Ha- 
beneck,  and  won  the 
second  pi'ize  for  violin  in  1829,  and  the  first 
in  1830.  He  studied  composition  under  Fetis 
in  1831,  and  was  a  member  of  the  orchestra 
at  the  Opera  in  the  same  year.  At  concerts 
of  that  year  he  won  the  notice  of  Paganiui, 
who  was  much  impressed  with  his  plaj'ing. 
In  1840  he  succeeded  Baillot  as  first  violinist 
to  the  king,  and  in  1843  as  professor  of  the 
violin  at  the  Conservatoire.  Alard  is  the 
chief  representative  of  the  modern  French 
school  of  violin  playing.  He  is  the  author  of 
a  comprehensive  work,  "  Ecole  da  violin," 
adojjted  by  the  Conservatoire  ;  editor  of  a 
collection  of  violin  pieces  by  the  best  com- 
posers of  the  18th  century,  "  Les  maltres 
classiques  du  violin,"  in  40  parts,  and  com- 
poser for  his  instrument  of  a  number  of 
etudes,  nocturnes,  duos,  etc.,  and  of  con- 
certos and  symphonies  with  orchestral  ac- 
companiment.— F('tis  ;  Grove  ;  IMendel ;  Wa- 
sielewski,  Die  Violine,  376. 

ALARICO  IL  BALTHA  (Alaric  the  Bold), 
Italian  opera,  text  by  Luigi  Orlandi,  music 
by  Steffani,  first  represented  at  Brunswick, 
Jan.  18,  1687,  the  birthday  of  the  Elec- 
tress  Maria  Antonia.  Fresh  singers  were 
brought  from  Italy  for  the  occasion,  and 
the  work  was  enlivened  by  ballets  arranged 


ALARY 


by  Rodier,  aud  danced  by  ladies  and  gen- 
tlemeu  of  the  court,  with  costumes  from 
Paris.  Subject  treated  also  in  Alarico,  Re 
de'  Goti,  by  Bassaui,  Ferrara,  1G85 ;  in 
Alaric,  opera  iu  three  acts,  music  by  Schie- 
ferdecker,  Hamburg,  1702 ;  and  in  Ingrati 
tudine  castigata,  ossia  Alarico,  by  Chiochetti, 
Ancona,  1719. 

ALARY,  JULES,  born  of  French  parents 
at  Mantua  in  ISU,  still 
living,  1888.  Dramatic 
composer,  pupil  of  Ba- 
silj  at  the  Conservatorio 
of  Milan,  was  for  a  few 
years  flutist  nt  the  Te- 
atro  della  Scala,  and  in 
1835  went  to  Paris  to 
teach  the  j^ianoforte  and 
singing.  He  was  iu  Lon- 
don in  1836,  but  returned  to  Paris,  where 
Jullien's  orchestra  performed  some  of  hi.s 
music.  Alternately  there  and  iu  London 
he  gave  concerts,  in  which  he  brought  out 
his  comj)ositions,  without  being  able  to  ac- 
quire a  genuine  reputation,  his  style  run- 
ning almost  exclusively  iu  the  shallow  taste 
of  fashion.  In  1852  he  went  to  St.  Peters- 
burg to  bring  out  a  grand  opera,  and  after 
his  return,  in  1853,  was  made  accomjjanist 
in  the  imperial  chapel,  while  at  the  same 
time  he  became  musical  director  at  the 
Theatre  des  Italiens.  Works  :  Rosamonda, 
opera,  given  at  Florence,  Teatro  de  la  Pergo- 
la, June  10,  1810  ;  La  Redemption,  oratorio, 
Paris,  Concert  Sj)irituel,  April,  1851 ;  Le  tre 
nozze,  opera  bufta,  ib..  Theatre  des  Italiens, 
March  29,  1851 ;  Sardanapale,  ojjera,  St. 
Petersburg,  1852  ;  L'orgue  de  Barbaric,  oj)- 
eretta,  Bouflfes  Parisiens.  185G ;  La  beaute 
du  Diable,  Paris,  Opera  Comique,  1861 ;  Le 
/^ra.sseur  d'Amsterdam,  operetta.  Ems,  1861 ; 
La  voix  humaiue,  Paris,  I'Opera,  1861 ;  Lo- 
canda  gratis,  opera  buffa,  Theatre  des  Ital- 
iens, 1866  ;  many  songs,  duets,  terzets,  and 
quartets,  and  pieces  for  the  pianoforte,  espe- 
cially polkas  and  waltzes. — Fetis  ;  do..  Sup- 
plement, i.  8. 

ALAS!  THOSE  CHIMES.    See3Iaritana. 


ALAYRAC,  D'.     See  Dalayrac. 

ALBANESI,  LUIGI,  born  in  Rome,  March 
3,  1821,  still  living,  1888.  Pianist  and 
composer,  studied  under  his  brother  and 
sister,  who  were  pupils  of  Senderaeh  ;  after- 
wards a  pupil  in  harmony  of  Giuseppe 
Polidoro  and  Salvatore  Lavigna.  Works  : 
Les  sept  paroles  de  Jesus  Christ,  oratorio  ; 
2  masses ;  Motets  with  organ  or  harmonium, 
or  the  pianoforte  and  other  instruments  ; 
Pianoforte  pieces,  more  than  fifty. — Fetis, 
Supplement,  i.  9. 

ALBANEZE  (D'Albanese),  born  at  Al- 
bano,  Apulia,  iu  1729,  died  in  Paris  in 
1800.  Pupil  of  the  Naples  Conservatorio, 
visited  Paris  in  1717,  and  was  engaged  at 
the  king's  chapel.  In  1752-62  he  was  first 
singer  at  the  Concerts  Spirituels.  He  com- 
posed airs  and  duets,  among  which  are : 
Airs  a  chanter,  3  collections ;  Les  amuse- 
ments de  Melpomene,  with  violin  or  guitar 
accompaniment ;  and  fifteen  other  collec- 
tions. The  charming  romance.  Que  ne  suis- 
je  la  fougere,  is  his,  although  it  has  been 
attributed  to  Pergolesi. — Fetis  ;  Mendel  ; 
Michaud,  Biogr.  univ. 

ALBENIZ,  PEDRO,  born  in  Biscay, 
Spain,  about  1755,  died  at  St.  Sebastian 
about  1821.  He  was  a  monk  aud  conductor 
of  music  in  the  Cathedrals  of  St.  Sebastian 
and  Logrono  (1795).  Among  his  works 
are  :  Masses,  vespers,  and  motets,  unpub- 
lished, and  a  book  of  solfeggi  (St.  Sebastian, 
1800).— Fetis. 

ALBENIZ,  Don  PEDRO,  born  at  Lo- 
gi'ofio,  Spain,  April  14,  1795,  died  in  Ma- 
drid, Ajjril  12,  1855.  Organist,  son  of  Don 
Matteo  Albeniz,  maestro  of  the  Collegiate 
Church  at  Logrono.  When  but  ten  years 
old  he  becanje  assistant  organist  of  the  Par- 
ish of  St.  Vincent,  Guipuzcoa.  He  studied 
in  Paris  under  Henri  Herz  aud  Kalkbreu- 
ner,  and  on  his  return  to  Spain  was  made 
director  of  the  musical  fetes  on  the  arrival 
of  the  king  and  queen,  in  1828.  He  after- 
wards became  organist  of  the  Church  of 
Santa  Maria  in  Logrono,  a  position  left  va- 
cant by  his  father's   resignation   in  1829. 


ALBEllGATI 


On  his  visit  to  Madrid  and  Aranjuez  he 
received  great  favours  from  the  king,  who 
appointed  him  professor  of  the  pianoforte 
at  the  Conservatorio  wliich  the  queen,  Maria 
Christina,  had  just  instituted  (1830),  and 
organist  of  the  Chapel  Royal.  In  1838  he 
was  made  vice-j)resident  of  the  junto  of 
directors  for  the  Artistic  and  Literary  Ly- 
ceum at  Madrid,  and  became  maestro  to 
the  Lifanta  and  the  queen.  Dona  Isabella, 
and  received  several  decorations.  To  him 
is  due  the  foundation  of  the  modern  school 
of  jjianoforte  playing  in  Spain  ;  all  the  best 
pianists  of  that  country  and  of  Spanish 
South  America  were  his  pujjils.  His  works, 
which  number  about  seventy,  are  chiefly  va- 
riations, fantasias,  etc.,  for  pianoforte  with 
violin  or  violoncello  accompaniment.  His 
Mcthode  de  piano  (Madi-id,  1840),  was 
adopted  by  the  Conservatorio.  —  Fetis  ; 
Mendel. 

ALBERGATI,  Conte  PIRRO  CAPA- 
CELLI,  born  in  Bologna,  Italy,  in  the  latter 
part  of  the  17th  century,  died  (?).  Dramatic 
composer.  Although  an  amateur,  his  com- 
positions are  considered  among  the  best  of 
his  time.  Works :  Gli  amici,  opera,  given  in 
1699 ;  II  prineipe  selvaggio,  opera,  given 
in  Bologna,  1712  ;  Giobbe,  oratorio,  given 
in  Bologna,  1688 ;  Baletti,  corrente,  sara- 
bande,  etc.  (1682-8.5) ;  Sonate  a  due  violini, 
col  basso  continuo  per  1'  organo,  ed  un  alto  a 
beneplacito  per  teorbo,  o  violoncello,  op.  2 
(1683);  Cantate  morali  a  voce  sola  (1685); 
Messa  e  salmi  concertate  ad  una,  due,  tre  e 
quattro  voci  con  stromenti  obligati  e  ripieni, 
a  beneplacito,  op.  4:  (1687) ;  and  Cantate  ed 
oratorio  a  piti  voci,  op.  17  (1714).  Besides 
these,  there  ai'e  many  cantate  and  motetti 
dating  from  1687  to  1721.— Fetis  ;  Mendel ; 
Schilling. 

ALBERICI,  PIETRO  GIUSEPPE,  born 
at  Orvieto,  Italy,  lived  in  the  beginning  of 
the  ISth  century.  Composer  and  poet ;  he 
publislied  a  musical  dialogue  for  four  voices 
entitled  :  L'  Esilio  di  Adamo  et  di  Eva  dal 
Paradiso  terrestre  (Orvieto,  1703). — Fetis  ; 
Mendel. 


ALBERT,  Prince  of  Saxe-Coburg-Gotha, 
Prince  Consort  of  Great  Britain,  born  at 
Castle  Rosenau,  near  Coburg,  Aug.  26,  1819, 
died  at  Windsor  Castle,  Dec.  14,  1861. 
Pianist,  studied  music  at  Coburg  and  at 
Brussels.  Works :  Masses  ;  Anthems  ;  Songs 
and  glees  ;  also  an  opera,  Hedwig  von  Lin- 
den.— Fetis  ;  Mendel. 

ALBERT,  EMILE,  born  at  Montpellier, 
France,  in  1823,  died  at  Bagneres-de-Bi- 
gorre  in  August,  1865.  Dramatic  composer 
and  pianist.  Works :  Les  petits  du  premier, 
operette,  given  in  Paris,  Theatre  Saint-Ger- 
main, 1864;  Jean  le  Fol,  do.,  1865;  Syni- 
pljonies  ;  Trios  for  pianoforte,  violin,  and 
violoncello  ;  Sonatas  for  25ianoforte  and  vio- 
lin.— Fetis,  Supplement,  i.  10. 

ALBERT,  EUGEN  D',  born  at  Glasgow, 
Scotland,  Ajsril  10, 
1864,  still  living,  1888. 
He  is  the  son  of 
Charles  d'Albert,  a 
French  dancing-mas- 
ter (born  near  Ham- 
burg, 1815).  Eugen 
studied  under  Sir  Ar- 
thur Sullivan,  Prout, 
and  Pauer  in  London, 
then  under  Hans 
Richter  in  Vienna  (1880),  and  under  Liszt 
at  Weimar  (1881).  He  appeared,  in  the 
same  year,  with  bi-illiant  success  at  a 
philharmonic  concert  in  Vienna  ;  at  Weimar, 
where  he  was  made  court  pianist ;  and  in 
Berlin.  Works  :  Concerto  for  jsiauoforte  ; 
Overture  to  Hiilderlin's  Hyijerion  ;  Suite  in 
five  movements  ;  Songs,  etc. 

ALBERT,  HEINRICH,  born  at  Loben- 
stein,  Voigtland,  Saxon)-,  June  28,  1604, 
died  at  Konigsberg,  June  27,  1657  (Oct.  10, 
1651  ?).  Organist  and  poet.  A  nephew 
and  perhaps  a  pupil  of  Heinrich  Schtitz,  he 
studied  law  in  Leipsic  and  mu-tiic  in  Dres- 
den. In  1626  he  studied  at  Konigsberg  un- 
der Stobbaeus,  who  was  then  Kapellmeister, 
and  in  1631  he  became  organist  of  the  old 
church  there.  Albert's  music  showed  all 
that  was  best  in   the  German  and  Italian 


S6 


ALBERTAZZI 


schools  ;  lie  composed  the  words  to  many 
of  his  owu  lij-mns  and  songs,  eight  collec- 
tions of  which  were  printed  by  Paschen, 
Meuse,  aud  Reussner,  under  the  j^atronage 
of  the  Emperor  of  Germany,  the  King  of 
Poland,  and  the  Kurfiirst  of  Brandenburg. 
These  collections  were  so  pojiular  that  sev- 
eral editions  were  published  by  the  author, 
aud  others  were  issued,  without  his  jjermis- 
sion,  at  KOnigsberg  aud  Dautzic  under  the 
title  of  "  Poetisch-musicalisehes  Lustwald- 
lein."  These  latter  are  very  rare ;  their 
original  title  was:  Erster  (Zweiter,  etc.) 
Theil  der  Arien  etlicher  theils  geistlicher 
theils  weltlicher,  zur  Andacht,  guten  Sitteu, 
keuscher  Liebe  uud  Ehreu  Lust,  dienender 
Lieder  zum  singen  uud  spielen  gesetzt. 
This  is  followed  by  separate  dedications  to 
each  part,  which  are  valuable  on  account  of 
the  princijjles  on  musical  art  given  iu  them 
at  a  time  when  a  reform  iu  music  was  tak- 
ing place  by  means  of  the  basso  continuo. 
He  was  author  of  the  manuscript,  Tractatns 
de  modo  conficiendi  contrajsunetum,  at  that 
time  owned  by  Valentine  Hausmann.  He 
composed  for  the  centenary  of  the  Konig.s- 
berg  University,  Aug.  28,  164;4,  a  ComO- 
dieii-Musik,  afterwards  given  in  the  palace 
of  the  Kurfurst,  thus  becoming,  after  Hein- 
rich  Schiitz,  the  founder  of  German  opera. 
This  comedy  was  never  jjublished  and  is  now 
lost.  A  Te  Deum  of  his  was  published  Sept. 
12,  1647.  Albert's  editions  were  originally 
in  folio,  but  an  octavo  edition  was  published 
by  A.  Profe,  of  Leipsic,  in  1G57. — Allgem. 
d.  Biogr.  ;  Fetis  ;  Grove  ;  Mendel ;  AViiiter- 
feld,  Der  evaug.  Kirchengesaug,  ii.  13G. 

ALBERTAZZI,  ALESSANDRO,  born  at 
Stagno,  in  Parma,  1783,  died  (?).  Pupil  at 
Parma  of  the  Carmelite  friar  Giuseppe  Va- 
leri,  then  of  Fortunati  iu  singing  and  coun- 
terpoint ;  settled  afterwards  at  Genoa.  His 
church  music  is  highly  esteemed.  He  wrote 
also  an  opera,  Gli  amanti  raminglii,  given 
about  1812,  and  much  music  for  the  piano- 
forte.— FOtis. 

ALBERTI,  CARLO,  born  in  Italy  iu  1848 
or  1849.     Dramatic  composer,  brought  out 


the  operas  :  Armando  e  Maria,  at  Naples, 
Teatro  de'  Fiorentini,  18C9,  aud  Oreste,  ib., 
TeatroPoliteama,  1872. — Fetis,  Supplement, 
i.  10. 

ALBERTI,  DOMENICO,  born  in  Venice 
about  1717,  died  at  Formio  about  1740. 
Amateur  singer,  pianist,  and  dramatic  com- 
poser, pupil  of  Antonio  Biffi  in  singing,  aud 
of  Lotti  in  compositiou  ;  as  the  page  of  a 
Venetian  ambassador  he  went  to  Madrid, 
where  hia  singing  excited  the  jealousy  of 
Fariuelli.  Iu  1737  he  came  to  Rome  with 
the  Marchese  Molinari,  and  made  his  debut  as 
a  composer.  Works — Operas  :  Endimione, 
given  iu  Rome,  1737 ;  Galatea,  ib.,  ;  Olim- 
piade  ;  36  sonatas,  for  pianoforte. — P^'tis  ; 
Meudel ;  Schilling. 

ALBERTI,  GIUSEPPE  MATTEO,  born 
at  Bologna  in  168.5,  died  after  1726.  Vi- 
olinist, jjupil  of  Carlo  Manzoliui,  of  Pietro 
Minelli  on  the  violin,  aud  of  Floriano  Ar- 
resti  in  counteri^oiut.  He  was  first  violinist 
at  the  Church  of  S.  Petronio,  was  elected 
member  of  the  Accademia  Filarmonica  iu 
1714,  aud  principe  in  1721.  Works  :  Dieci 
Coucerti  a  sei  stromenti  (Bologna,  1713) ; 
Dodici  senate  jser  violino  solo,  con  basso 
continuo  (ib.,  1721) ;  Dodici  sinfonie  per 
due  violini,  viola,  violoncello  ed  organo  (ib., 
1726).— Fetis ;  Mendel. 

ALBERTI,  JOHANN  FRIEDRICH,  born 
at  TiJnning,  Schleswig,  Jan.  11,  1642,  died 
at  Merseburg,  June  14,  1710.  Contrapunt- 
ist and  organist,  jiupil  of  Werner  Fabricius 
at  Leipsic  ;  became  organist  at  the  cathe- 
dral at  Merseburg,  but  was  obliged  to  re- 
sign in  1698  owing  to  a  stroke  of  paralysis. 
He  was  esteemed  one  of  the  best  composers 
of  chorals,  fugues,  etc.,  and  one  of  the  most 
learned  contrapuntists  of  his  time. — Fctis  ; 
Fiirstenau,  Gesch.  der  Musik  am  Hofe  zu 
Dresden,  i.  143  ;  Gerber,  Hist.  Lex. ;  Spitta, 
J.  S.  Bach,  i.  98. 

ALBERTINI,  GIOVACHINO,  born  about 
1744,  died  at  Warsaw,  April,  1811.  Dra- 
matic comjjosei-,  lived  at  Warsaw  in  1784  as 
Kajjellmeister  to  the  King  of  Poland.  Po- 
litical events  induced  him  to  return  to  Italy, 


Z! 


ALBICASTEO. 


where  lie  taught  singing  until  1804,  wlien 
he  was  called  back  to  Warsaw  by  Prince 
Poniatowski  for  the  instruction  of  his  chil- 
dren. Works  —  Operas  :  Don  Giovanni, 
given  at  Venice,  1784  ;  Le  maitre  de  cha- 
pelle  polonais  (Polish  opera),  Warsaw,  1784 ; 
Circe,  Hamburg,  1785  ;  Virginia,  Rome, 
1786  ;  Scipione  Africauo,  ib.,  1789. — Fctis. 

ALBICASTEO,  HENPvICO,  boru  in  Switz- 
erland towards  the  end  of  the  17th  century, 
died  (?).  Violinist,  real  name  Weissenburg. 
He  served  as  captain  in  the  Allied  Ai'niies 
during  the  Spanish  War  of  Succession. 
Works  :  Sonatas  for  three  parts,  op.  1  (Am- 
sterdam, Roger);  do.,  op.  4  (ib.) ;  12  do., 
op.  8  (ib.)  ;  15  sonatas  for  violin  and  bass, 
op.  2  (ib.);  do.,  op.  5  and  op.  6  (ib.);  Sona- 
tas for  violin,  violoncello,  and  bass,  op.  3 ; 
Concertos  for  four  parts,  op.  7  (ib. ) ;  Sona- 
tas for  violin  and  violoncello  (ib.). — Fetis  ; 
Schilliug. 

ALBINI,  FRANCESCO  MARIA,  Italian 
dramatic  composer,  contemporary.  Works  : 
Uu  giorno  di  quarautena,  opera  butfa,  giv- 
en at  Bologna,  Teatro  Contavalli,  18G6  ;  and 
Lamberto  Malatesta,  opera. — Fetis,  Supple- 
ment, i.  10. 

ALBINONI,  TOMilASO,  boru  in  Venice 
in  1674,  died  there  in  1745  (?).  Dramatic 
composer  and  violinist.  No  i)articulars  of 
his  life  are  known.  He  wrote  forty-two 
ojieras,  some  vocal,  and  much  instrumental 
music,  in  which  he  showed  greater  talent 
thau  in  his  dramatic  works.  He  was  also 
an  excellent  performer  on  the  violin.  Bach 
took  bass  parts  by  Albinoui  for  j^ractice  in 
thorough  bass  and  used  many  of  his  themes, 
notably  two  from  his  Opera  prima,  for 
fugues  ;  see  Peters's  edition  of  Bach's  clavier 
works ;  one  in  A  (No.  10,  cahier  13),  the 
other  in  F-sharp  minor  (No.  5,  cahier  3). 
Works  —  Operas:  Engelberta  (conjointly 
with  Gasparini),  given  at  Venice,  1690 ;  Zeno- 
bia,  regina  de'  Palmireni,  ib.,  Teatro  de'  SS. 
Giovanni  e  Paolo,  1694 ;  II  prodigo  dell'  in- 
nocenza,  ib.,  ib.,  1695 ;  Zenoue,  imperatore 
d'  Oriente,  ib.,  Teatro  di  S.  Cassiano,  1696  ; 
Tigrane,  re  d'  Armenia,  ib.,  1697  ;  Radamisto, 


ib.,  Teatro  di  Sant'  Angiolo,  1G98 ;  Primis- 
lao  I.,  re  di  Boemia,  ib.,  S.  Cassiano,  1698, 
Vicenza,  1701,  Udiue,  1704 ;  L'ingratitu- 
dine  castigata,  Venice,  1698 ;  Diomede  pn- 
nito  da  Alcide  ;  L'  inganno  innocente,  both 
in  Rome,  1701 ;  L'  arte  in  gara  con  1'  arte, 
Venice,  1702  ;  La  fede  tra  gli  ingauni, 
Rome,  1707;  Astarte,  Venice,  1708;  H  tra- 
dimento  tradito,  ib.,  Sant'  Angiolo,  1709 ; 
Ciro  riconosciuto,  Rome,  1710 ;  Giustina, 
Bologna,  1711 ;  H  tiranno  Eroe,  Venice,  S. 
Cassiano,  1711 ;  Le  gare  generose,  ib.,  1712  ; 
Amor  di  figlio  uon  conosciuto,  171G ;  Eu- 
mene,  Rome,  1717;  Cleomene,  ib.,  1718;  II 
Meleagro,  Venice,  1718  ;  Gli  eccessi  della 
gelosia,  Rome,  1722,  then  under  the  title  of 
Marianna,  Venice,  Sant'  Angiolo,  1724  ;  Er- 
mingarda,  Rome,  1723 ;  Laodicea,  Venice, 
S.  Mose,  1724  ;  Scij)ione  nelle  Spagne,  ib., 
S.  Samuele,  1724  ;  Antigono  tutore,  1724  ; 
Didone  abbandouata,  Rome,  1725 ;  Alciua 
delusa  da  Ruggiero,  1725  ;  II  trionfo  d'  Ar- 
mida,  Venice,  1726  ;  L'  incostanza  schernita, 
Rome,  1727;  I  due  rivali  in  amore,  and 
Griselda,  ib.,  1728 ;  II  concilio  dei  pianetti, 
and  L'  infedeltS,  delusa,  ib.,  1729 ;  Statira, 
Venice,  Sant'  Angiolo,  1730 ;  Gli  strata- 
gemmi  amorosi,  ib.,  S.  Mos6,  1730;  Elenia, 
1730  ;  Ai'deliuda,  1732  ;  Gli  awenimenti  di 
Ruggiero,  Venice,  1732 ;  Candalide,  ib., 
1734;  Artamene,  ib.,  1741.  Other  works: 
Due  e  dieci  souate  a  tre,  op.  1 ;  Siufonie  a 
sei  e  sette,  op.  2  (Venice,  1700) ;  Dieci  e 
due  balletti,  ossia  sonate  da  camera  a  tre, 
op.  3  ;  12  cantatas  for  a  single  voice,  and 
bass,  op.  4  ;  12  concertos  for  6  instru- 
ments, op.  5  ;  Trattenimenti  da  camera,  con- 
sisting of  12  cantatas  for  a  single  voice, 
and  bass,  op.  6 ;  do.  for  oboe  and  violin, 
op.  7 ;  12  ballets  for  two  violins,  violon- 
cello, and  bass,  op.  8 ;  12  concertos  for  2 
oboes,  viola,  violoncello,  and  organ,  op.  9. 
— F.'tis  ;  Mendel ;  Spitta,  i.  423. 

ALBRECHT,  JOHANN  LORENZ,  called 
Magister  Albrecht,  boru  at  Giirmar,  Thu- 
ringia,  Jan.  8,  1732,  died  at  Miihlhausen  in 
1773.  More  especially  a  writer  on  music, 
but   comjjosed    cantatas  (1758),  a   Passion 


ALDIIECIIT 


(1750),  and  exercises  for  pianoforte  (1708). 
— Allgem.  (L  Biogr.,  i.  321  ;  Fetis  ;  Meudel. 

ALBRECHT,  JOHANN  MATTHAUS, 
boru  at  Osterbehringen,  near  Gotba,  May  1, 
1701,  died  at  Frankfort  in  1769.  Cburcb 
composer  and  renowned  organist,  jjiipil  of 
Kapellmeister  Witt  at  Gotlia  ;  visited  South 
Germany  and  France  to  Lear  the  best  or- 
ganists, and  f?ooii  ranked  witli  tliem.  He 
became  organist  at  St.  Catherine's,  Frank- 
fort, in  1724,  and  at  the  Metropolitan 
Clmrch  of  the  Barefooted  Friars  in  172G. 
He  was  distinguished  also  as  a  didactic 
writer.  Works :  Cantatas  for  the  twenty- 
fourth  Sunday  after  Pentecost  (1758) ;  Pas- 
sion according  to  the  Evangelists  (Miihl- 
hausen,  1759)  ;  Musikalische  Aufmunterung 
f  (ir  Anfiinger  des  Kliiviers  (Augslnirg,  17G:5) ; 
Musikalische  Aufmunterung  in  kleinen  Kla- 
vierstiicken  und  Oden  (Berlin,  1703) ;  Con- 
certos for  pianoforte  (unpublished). — ^len- 
del ;  Schilling. 

ALBRECHTSBEEGER,  JOHANN 
GEORG,  born  at 
Klosterneuburg, 
near  Vienna,  Feb. 
3,  1736,  died  in 
Vienna,  March  7, 
1809.  Composer  of 
church  and  cham- 
ber music,  contra- 
puntist, organist  of 
the  first  rank,  and 
cue  of  the  most 
eminent  theoreticians  and  teachers  of  mu- 
sic. He  was  first  instructed  in  his  native 
place  by  the  parson  Leopold  Pittner,  after- 
wards pupil  in  Vienna  of  the  court  organ- 
ist Mann.  Having  pursued  Lis  educational 
studies  at  tlie  Benedictine  Abbej'  of  Mulk, 
and  at  the  Jesuits'  Seminarj'  in  Vienna, 
where  Michael  Haydn  was  his  fellow  stu- 
dent, he  became  an  organist,  first  at  Raab, 
Hungary,  then  at  Maria-Taferl,  finally  at 
Molk,  where  he  remained  twelve  years,  and, 
under  the  choir  dii-ector  Kimmerling,  stud- 
ied the  classical  works  of  Caldara,  Pergo- 
lesi,  Grauu,  Hasse,  Handel,  Bach,  and  others. 


After  1765  he  taught  a  few  years  in  the 
family  of  a  nobleman  in  Silesia,  then  in 
Vienna,  earning  a  scanty  living,  but  soon 
attracting  attention  by  Lis  organ  playing, 
which  procured  for  him  the  position  as  Re- 
gens  cliori  at  the  Carmelites.  In  1772  ho 
was  appointed  court  organist,  and  in  1792 
Kapellmeister  at  St.  Stephen's  Cathedral. 
Member  of  Vienna  Academy,  1772,  of 
Stockholm  Academy,  1798.  As  a  teacher 
of  counterpoint  and  composition  lie  was 
considered  the  first  of  his  day,  and  he  num- 
bered among  Lis  pupils  most  of  the  prom- 
inent musicians  of  the  following  generation, 
notably  Beethoven  (in  1794-95),  Hummel, 
Weigl,  and  Johanu  Fuss.  He  left  261  works, 
consisting  of  43  masses,  43  graduates,  34 
offertories,  vespers,  litanies,  jwalnis,  hymns, 
motets,  etc.;  6  oratorios  (Die  Pilgrime  auf 
Golgotha,  Die  Auffindung  des  Kreuzes,  Ge- 
Inirt  Christi,  Passion),  4  Te  Deums,  4  sym- 
phonies, a  great  deal  of  chamber  music, 
besides  fugues  and  preludes  for  organ  and 
pianoforte  ;  of  all  these  only  27,  compris- 
ing chamber  and  organ  music,  were  printed. 
The  bulk  of  his  manuscript  bequest,  244  in 
number,  was  acquired  by  Prince  Nikolaus 
Esterhiizy.  A  complete  edition  of  his  theo- 
retical writings  was  published  by  his  pujiil, 
Iguatz  von  Seyfried  :  J.  G.  Albreehtsber- 
ger's  Siimmtliehe  Schrifteu  iiber  General- 
bass,  Harmonie  und  Tonsetzkunst,  etc. 
(Vienna,  Strauss,    1837),  containing  also  a 


biography  and  list  of  his  works. — Allgem. 
d.  Biogr.,  i.  323  ;  Allg.  mus.  Zeitg.,  xi.  445 ; 
xxxi.  443  ;  Fetis  ;  Mendel ;  Schilling. 

ALBRICI,  VINCENZO,  born  in  Rome, 
June  26,  1631,  died  in  Prague  in  1696. 
About  1660  he  was  maestro  di  cappella  to 
Queen  Christina  of  Sweden  at  Stralsund,  in 
1664  to  the  Elector  of  Saxony  at  Dresden, 
in  1680  organist  of  St.  Thomas'  Church  at 
Leipsic,  and  in  1682  director  of  music  at 
St.    Augustine's,    Prague.     His   highly    es- 


ALBITMBLATT 


teemed  works  were  bought  for  the  royal 
library,  Dresden,  but  perished  iu  the  bom- 
bardment of  17G0.  Among  those  still  pre- 
served are  :  Te  Deum  for  2  choruses,  and 
small  orchestra  ;  Kyrie  for  8  voices ;  Mass 
for  do.  ;  Symbolum  NiciEum  for  4  voices 
and  instruments ;  The  one  hundred  and 
fiftieth  psalm  for  do.  —  Fetis  ;  Mendel ; 
Schilling. 

ALBmiBLATT,  BIN,  for  pianoforte,  by 
Richard  Wagner,  composed  1860,  published 
as  supplement  to  No.  -11  (1871)  of  Musika- 
lisches  Wochenblatt.  It  has  been  arranged 
for  orchestra  by  Reiclielt ;  for  violin  and 
orchestra  by  August  "Wilhelmj ;  for  violon- 
cello and  orchestra  b}'  David  Popper. — 
Kastner,  Wagner  Katalog,  51. 

ALBUMBLATTER  (Fr.,  Feuillets  d'al- 
bum ;  Album  Leaves),  by  Robert  Schumann, 
a  collection  of  twentj'  short  movements  in 
varied  styles,  for  pianoforte,  op.  124.  Com- 
posed in  1832-45  ;  dedicated  to  Frau  Alma 
von  Wasielewski.  Published  by  F.  W.  Ar- 
nold (Elberfeld,  1854). 

ALBUM  FUR  DIE  JUGEND  (Album 
for  the  Young),  by  Robert  Schumann,  a  col- 
lection of  forty-three  short  movements  iu 
varied  styles  for  the  pianoforte,  op.  68. 
Composed  iu  1848  ;  ijublished  by  J.  Schu- 
berth  &  Co.  (Leijisic  and  New  York,  1849- 
51). 

ALCESTE  (Alcestis)  ;  or,  Le  triomphe 
dAlcide  (The  Triumph  of  Hercules).  Lyric 
tragedy  iu  live  acts,  text  by  Quinault,  music 
by  Lulli,  first  represented  iu  the  theatre 
of  the  Palais  Royal,  Paris,  Jan.  19,  1674. 
The  plot,  derived  fi'om  the  "Alcestis"  of 
Eui-ijiides,  turns  on  the  restoration  to  life, 
through  the  efforts  of  Hercules,  who  strug- 
gles with  and  overcomes  Death,  of  Alcestis, 
who  had  died  in  place  of  her  husband,  Ad- 
metus.  King  of  Pheric.  This  ojjera  was  al- 
ways successful  until  eclipsed  by  Gluck's 
work.     Hanslick,  Moderne  Oper,  23. 

ALCESTE,  tragic  opera  iu  three  acts, 
Italian  text  by  Calzabigi,  music  by  Gluck, 
first  represented  iu  Vienna,  Dec.  16,  17G6. 
The   score    waa    published    iu   Vienna    iu 


1769,  with  a  dedicatory  epistle  to  the 
Archducliess  Leopold,  explaining  the  com- 
poser's intention  iu  its  composition,  which 
was  to  produce  an  opera  in  which  the  mu- 
sic should  be  perfectly  adapted  to  the 
drama,  and  should  faithfully  interpret  each 
situation  without  undue  ornamentation. 
The  new  style  was  received  with  galling 
criticism,  and  in  1774  Gluck  removed  to 
Paris,  where  his  work,  with  its  text  trans- 
lated and  adapted  for  the  French  stage  by 
the  Bailli  du  Rollet,  was  produced  at  the 
Academic  de  Musique,  April  23,  1776.  Al- 
ceste  was  revived  in  Paris  iu  1861,  with 
Pauline  Viardot,  and  in  1866,  with  Mile 
Battu  in  the  title  role.  Among  its  best 
numbers  are  :  "Non,  ce  n'est  i^oint  uu  sa- 
crifice," "Divinites  du  Styx,"  and,  "Ah! 
divinites  implacables !  "  Other  settings  are 
by  Strungk,  Hamburg,  1682  ;  by  Antonio 
Draghi,  Vienna,  1699  ;  by  Schurmaun, 
Hamburg,  1719  ;  by  Lamjsugnani,  Lon- 
don, 1745  ;  by  Schweitzer,  text  by  Wie- 
laud,  Leij)sic,  1774  ;  by  Gresnick,  London, 
1786  ;  by  Portogallo,  Venice,  1799  ;  by  El- 
wart,  text  by  Hij^polyte  Lucas,  Paris,  1847. 
—Marx,  Gluck  u.  d.  Oper,  i.  337  ;  Des- 
noiresterres,  Gluck  et  Picciuui,  62,  129. 

ALCESTE,  Handel.  See  Choice  of  Her- 
cules. 

ALCHYlVnST,  DER  (The  Alchemist). 
German  opera,  text  by  Pfeiffer,  adapted 
from  Washington  Irving's  story  of  the 
same  title,  music  by  Sjjohr  ;  first  jierformed 
at  Cassel,  July  28,  1830,  the  elector's 
birthday.  It  had  but  a  temporary  suc- 
cess. Other  operas  by  this  title  :  By 
Johann  Andre,  Berlin,  about  1765  ;  by 
Schuster,  Vienna,  1785 ;  by  Hoffmeister, 
about  1790  ;  L'  Alchimista,  Italian  opera, 
by  Laui-o  Rossi,  Naples,  1853  ;  L'Alchi- 
miste,  French  opera  in  one  act,  by  Leon 
Paliard,  Lyons,  1855 

ALCIBIADE  (Alcibiades),  Italian  opera 
by  Marc  Antonio  Ziaui,  Venice,  1680  ;  by 
Ballarotti  (with  Gasparini),  Venice,  1699  ; 
by  Stefi'ani,  text  by  Orteusio  Mauro,  Bruns- 
wick, 1696,  Hamburg,  1697  ;   by  Cordelia, 


30 


ALCIDE 


Venice,  1825  ;  bj-  C.  L.  J.  Hanssens,  test 
by  Scribe,  Brussels,  182'J.  Alcibiade  soli- 
taire, French  opera  in  two  acts,  text  by  Cu- 
velier  and  Barouillet,  music  by  Louis  Alex- 
andre Picciuui,  was  given  at  the  O^x-ra, 
Paris,  March  8,  182-4. 

ALCIDE  AL  BIVIO,  Italian  opera,  text 
by  Metastasio,  music  by  Paisieho,  repre- 
sented at  St.  Petersburg  about  1770.  Ital- 
ian opera,  same  title,  music  by  Eighiui,  Cob- 
leutz,  1789. 

ALCIDES.     See  Choice  of  Hercules. 

ALCINA,  Italian  opera,  text  by  Antonio 
Marchi,  music  by  Handel,  represented  at 
Covent  Garden  Theatre,  London,  April  16, 
1735.  The  MS.  is  dated  at  the  end,  April 
8,  1735.  Alciiia,  a  character  in  Boiardo's 
"Orlando  lunamorato,"  and  in  Ariosto's 
"  Orlando  Furioso,"  is  a  kind  of  Circe,  who 
enjoys  her  lovers  for  a  time  in  her  en- 
chanted garden,  and  then  metamorphoses 
them  into  trees,  wild  beasts,  etc. — Rock- 
stro,  Handel,  191 ;  Schojlcher,  Handel,  176. 

ALCOCK,  JOHN,  born  in  London,  April 
11,  1715,  died  at  Lich- 
field, March,  1806. 
Organist  ;  pupil  of 
Stanley.  He  was  chor- 
ister of  St  Paul's  Ca- 
thedral in  1722  ;  or- 
ganist of  St.  Andrew's, 
Plymouth,  in  1738,  of 
St.  Lawrence's,  Head- 
ing, in  1742,  and  of 
Lichfield  Cathedral  in  1749,  when  ho  was 
also  master  of  choristers  and  lay  vicar  ;  in 
1760  he  resigned  all  positions  but  thatof  lay 
vicar.  He  received  fi-om  Oxford  the  degree 
of  Mus.  B.  in  1755,  and  Mus.  D.  in  1761. 
Works :  Six  Suites  of  Lessons  for  the 
Haqisichord,  Twelve  Songs  (Plymouth), 
Six  Concertos,  Collection  of  Psalms,  Hymns, 
and  Anthems  (Reading)  ;  Morning  and 
Evening  Service  in  E  minor  (1753)  ; 
Twenty-six  Anthems,  and  a  Burial  Service 
(1771);  a  book  of  glees,  Harmonia  Festi 
(1790).  He  edited  a  collection  of  psalm 
tunes,  arranged  for  four  voices,  called  Har- 


mony of  Sound.  Hail,  ever  pleasing  Soli- 
tude, a  glee,  gained  a  medal  at  the  Catch 
Club  in  1790.  His  son,  John  Alcock  (Mus. 
B.,  born  in  1739,  died  in  1791),  was  or- 
ganist of  Preston,  and  comjjoser  of  anthems 
in  1773-76. — Grove  ;  Fetis  ;  Mendel. 

ALDAY,  the  younger,  born  at  Perpignan 
or  at  Avignon  in  1764,  died  at  Edinburgh 
after  1806.  Violinist,  supposed  pupil  of 
Viotti  ;  appeared  with  great  success  in  the 
Concerts  spirituels  in  Paris  until  1791, 
when  he  went  to  England.  In  1806  he 
was  called  as  musical  director  to  Edin- 
burgh. Works :  First  Concerto  for  violin 
(Paris,  Imbault)  ;  Fourth  Concerto  for  vio- 
lin (ib.)  ;  Second  and  Third  Concertos  for 
violin  (Paris,  Sieber)  ;  Duos  for  two  vio- 
lins (Paris,  Decombe) ;  Melanges  for  two 
violins  (Paris,  Leduc)  ;  Airs  varies  for  violin 
and  viola  (ib.,  Imbault)  ;  Trios  for  two  vio- 
lins and  bass  (London,  Lavenu).  His  elder 
brother,  born  in  1763,  was  also  a  viohnist, 
though  less  distinguished  ;  played  in  the 
Concert  spirituel  in  1783,  and  with  his 
brother  in  1789,  and  settled  at  Lyons  about 
1795  as  a  music  dealer.  He  composed : 
Symphonie  concertante  for  two  violins  (Am- 
sterdam, Hummel) ;  do.  for  two  violins  and 
viola  (Paris,  Sieber)  ;  Quartets  for  violins, 
viola,  and  bass  (ib.,  Pleyel)  ;  Method  for 
the  violin  (Lyons,  Cartoux).  To  one  of  the 
brothers  is  due  the  music  to  the  lyrical 
drama  GeneviOve  de  Brabant,  given  at  the 
Theatre  Louvois,  1791. — Fetis  ;  do..  Sup- 
plement, i.  10  ;  Mendel ;  Schilling. 

ALDOVRANDINI,  GIUSEPPE  AN- 
TONIO VINCENZO,  born  in  Bologna 
about  l(i65.  Dramatic  composer,  pupU  of 
Jacques  Perti.  He  was  a  member  of  the 
Accademia  Filarmonica  of  Bologna  in  1695, 
and  principe  in  1702 ;  honorary  maestro 
di  cappella  to  the  Duke  of  Mantua.  Works 
— Operas:  Dafne,  Gl'  inganni  amorosi  sco- 
perti  in  villa,  both  given  at  Bologna  in  1696  ; 
Ottaviano,  Turin,  1697  ;  Amor  torna  in 
cinque  al  cinquanta,  ovvero  Nozz'  dla  Flip- 
pa  e  d'  Bedette,  comic  opera  in  Bolognese 
patois,    Bologna,    1699  ;    L'orfano,   Naples 


31 


ALDKICH 


carnival,  1699  ;  La  fortezza  al  cimento, 
Venice,  1699  ;  Le  due  Auguste,  Bologna, 
1700  ;  Cesare  in  Alessandria,  Naples, 
1700 ;  Semiramide,  Genoa,  1701  ;  Pirro, 
Venice,  1704 ;  I  tre  rivali  al  soglio,  ib., 
1711  ;  an  oratorio,  S.  Sigismondo  (1704)  ; 
cburcli  music,  consisting  of  three  collec- 
tions of  motets  (Bologna,  1701-1703)  ;  so- 
natas for  three  parts,  op.  5  (Amsterdam). — 
Fetis. 

ALDRICH,  HENRY,  born  at  Westmin- 
ster in  1647,  died 
in  Oxford,  Dec. 
14,  1710.  He  went 
from  Westminster 
School  to  Christ 
Church  College,  Ox- 
ford, of  which  he  be- 
came A.M.  in  1G69, 
Canon  in  February, 
1681,  D.D.  ill  the  fol- 
lowing May,  and  Dean  in  1689.  He  ad- 
vanced the  study  and  progress  of  church 
music  ill  his  college  and  cathedral,  con- 
tributing services  and  about  fifty  anthems, 
original  and  adapted  from  Italian  compos- 
ers. They  are  to  be  found  in  the  collec- 
tions of  Ely,  Tudway,  Christ  Church  MSS., 
Boyce,  Ai'nold,  and  Page.  He  bequeathed 
to  his  college  a  large  musical  library  con- 
taining the  works  of  Palestrina,  Carissinii, 
Bassani,  Graziani,  and  other  Italian  com- 
posers. His  works  include  Morning  and 
Evening  Service  in  G  (Boyce),  do.  in  A 
(Arnold),  and  several  catches.  Hark,  the 
Bonny  Christ  Church  Bolls,  being  one  of 
the  most  popular. — Barrett,  English  Church 
Composers,  85  ;  Fetis ;  Grove  ;  Harmonicon 
(1832),  95. 

ALESSANDRI,  FELICE,  born  in  Rome 
in  1742,  died  after  1791.  Dramatic  com- 
poser and  harpsichord  player  ;  pupil  of 
the  Conservatorio,  Naples.  When  young 
he  went  to  Turin  as  harpsichord  player 
and  composer,  and  subsequently  spent 
four  years  in  Paris,  writing  for  the  Con- 
certs Spirituels.  On  his  return  to  Italy  in 
1767  he  brought  out  several  operas,   and 


afterwards  visited  the  principal  cities  of 
Europe.  In  1769  he  was  in  London,  where 
he  brought  out  several  operas  ;  in  1773  in 
Dresden,  in  1774  in  Italy,  in  1775  in  Lou- 
don again,  and  in  1778-86  in  Italy.  He 
went  to  Russia  in  1786,  but  was  unsuccess- 
ful there,  and  returned  to  Italy  in  1788. 
In  1789  he  was  in  Berlin,  where  he  re- 
mained until  1792,  as  Kapellmeister  to  the 
king.  His  II  ritoruo  d'  Ulisse,  given  there 
in  1790,  was  very  successful  ;  but  his  opera 
buffa.  La  com23agnia  d'  oj)era  in  Nanchino, 
a  satire  on  the  cabals  of  the  Theatre  Royal, 
was  denounced  by  the  critics,  his  opera  of 
Dario  was  hissed  in  1791,  and  such  dis- 
putes and  jealousies  arose  that  he  was  dis- 
missed from  the  service  of  the  king,  after 
which  nothing  is  known  of  him.  Works — 
Operas  :  Ezio,  given  at  Verona,  1767  ;  II 
matrimonio  per  concorso,  Vienna,  1767  ; 
Argentino,  ib.,  1768  ;  La  mogiie  fedele, 
London,  1769  ;  II  re  alia  caccia,  ib.,  1769  ; 
L'amore  soldato,  Dresden,  1773  ;  Creso, 
Pavia,  1774  ;  La  sjiosa  persiana,  London, 
1775  ;  La  novita,  ib.,  1775  ;  La  contadina 
(with  Sacchini),  ib.,  1775  ;  Calliroe,  Milan, 
1778  ;  Venere  in  Cij)ro,  Milan,  at  the  carni- 
val, 1779  ;  Attalo,  Florence,  1780  ;  II  vec- 
chio  geloso,  Milan,  1781  ;  II  marito  geloso, 
Leghorn,  1781  ;  Demofoonte,  Padua,  1783  ; 
Ai-taserse,  Naples,  1784  ;  I  iiuntigli  gelosi, 
Palermo,  1784  ;  I  due  fratelli,  Cassel,  1785  ; 
La  finta  priucipessa,  Ferrara,  1786 ;  Pappa 
Mosca,  Vienna,  1788  ;  II  ritorno  d'  Ulisse, 
Berlin,  1790  ;  La  compagnia  d'  opera  in 
Nanchino,  Potsdam,  1788  ;  Dario,  Berlin, 
1791.— Fctis  ;  Mendel. 

ALESSANDRI,  GENNARO  D',  born  at 
Naples  in  1717,  died  (?).  Dramatic  com- 
poser ;  author  of  several  operas,  among 
which  is  Ottone,  given  in  Venice,  Teatro  di 
San  Giovanni  Crisostomo,  1740. — Fetis. 

ALESSANDRO,  Italian  opera,  in  three 
acts,  music  by  Handel,  represented  at  the 
King's  Theatre,  London,  May  5,  1726.  The 
principal  parts  were  sung  by  Signore  Faus- 
tina and  Cuzzoni,  and  by  Signor  Senesino. 
It  was  a  success,  and  ran  imtil  the  close  of 


ALESSAXDRO 


the  season,  June  7,  1726.  It  was  repro- 
duced in  1743  under  the  title  of  Roxaua ; 
or,  Alexander  in  India.  The  MS.  is  in 
Buckingham  Palace.  Oi^eras  of  the  same 
title  have  been  written  by  Duni,  given  in 
Italy,  1736  ;  Leo,  Naples,  1741 ;  Himmel, 
St.  Petersburg,  1799.  Alexander,  German 
opera,  text  by  Schikaneder,  music  by 
Franz  Tayber,  given  in  Vienna,  June  13, 
1800. — Kockstro,  Handel,  147  ;  Schcelcher, 
Handel,  75  ;  Chrysander,  H.  145. 

ALESSANDRO  IN  EFESO  (Alexan- 
der in  Ephesus),  Italian  opera,  music  by 
Giacomo  Tritto,  represented  at  Mantua, 
1804  ;  by  Marinelli,  Milan,  1810  ;  Alexan- 
der in  Ephesus,  German  ojjera  seria,  music 
by  Lindpaintner,  Stuttgart,  about  1815. 

"  ALESSANDRO  NELL'  INDIE  (Alex- 
ander iu  India),  Italian  opera  in  three  acts, 
text  by  Metastasio,  first  set  to  music 
by  Vinci,  and  represented  at  the  Teatro 
delle  Dame,  Rome,  Dec.  26,  1729.  Subject, 
the  meeting  of  Alexander  the  Great  with 
the  Indian  king  Porus.  Scene,  on  the 
banks  of  the  Hydaspes.  Characters  repre- 
sented :  Alessandro,  Poro,  Cleofide,  Erisse- 
na,  Gandarte,  Timagene.  The  libretto  has 
been  set  to  music  also  by  Porjiora,  Dresden, 
about  1730  ;  Johauu  Adolphe  Hasse,  Dres- 
den, 1731  ;  Manciui,  Venice,  1732 ;  Bioni, 
Breslau,  1733  ;  Scliiassi,  Bologna,  1734  ; 
Pescetti,  Venice,  1740  ;  Araja,  St.  Peters- 
burg, 1740  ;  Leo,  Rome,  1741 ;  Graun,  Ber- 
lin, 1744 ;  Gluck,  Turin,  1745  ;  Galuppi, 
Vienna,  1749  ;  Perez,  Genoa,  1751,  Lisbon, 
1755  ;  Latilla,  1753  ;  Jommelli,  Stuttgart, 
1757  ;  Scolari,  Venice,  1758  ;  Piccinui, 
Rome,  1758,  Naples  (new  music),  1775  ; 
Holzbauer,  Milan,  1759  ;  Gioacchiuo  Coc- 
chi,  London,  1761  ;  Majo,  Naples,  1767  ; 
Naumann,  Venice,  1768  ;  Sacchini,  Venice, 
1768,  Turin  (new  music),  about  1770  ;  Caba- 
lone,  Naples,  1770  ;  Bertoni,  1770  ;  Paisiello, 
Modena,  1775  ;  Domenico  Corri,  London, 
1774;  Kozeluch,  Prague,  1774;  Friedrich 
Rust,  1775  ;  Mortellari,  1779  ;  Cimarosa, 
Rome,  1781;  Cherubini,  Mantua,  1784  ;  Gres- 
nick,   London,    1785  ;    Chiavacchi,     Milan, 


1786  ;  Caruso,  Rome,  1787,  Venice,  1791 ;  Bi- 
anchi,  Brescia,  1788  ;  Tarchi,  London,  1789, 
Turin,  1793  ;  Himmel,  St.  Petersburg,  1799  ; 
Bomtempo,  about  1800  ;  Pacini,  Naples, 
1824.  Alexandre  aux  ludes,  tragedy,  ojjera 
in  three  acts,  text  by  Morel,  founded  on  the 
"Alexandre"  of  Racine,  music  by  Mcreaux, 
was  represented  at  the  Opera,  Paris,  Aug. 
26,  1783  ;  Alexander  am  Indus,  Russian 
opera,  by  Sigismoud  Neukomm,  St.  Peters- 
burg, 1805  ;  and  Alessandro  nell'  Indie,  bal- 
let, by  Peter  Lichtenthal,  Milan,  1820. 

ALESSANDRO,  LUIGI,  born  at  Siena  in 
1736,  died  there,  Jan.  29,  1794.  Church 
composer,  became  maestro  di  cappella  at 
the  cathedral  of  his  native  citj'  iu  1786. 
He  wrote  manj'  masses,  vespers,  and  motets, 
which  are  esteemed  in  Italy. — Fetis. 

ALESSANDRO  ROJIANO,  lived  in  the 
latter  half  of  the  1 6tli  century.  Viola  player  ; 
called  della  Viola  from  his  facility  on  that 
instrument.  In  1560  he  was  chorister  of 
the  Pojie's  chapel,  Rome.  He  composed 
motets  and  songs,  among  them  a  collection 
of  Cauzoni  alia  napoletana  for  five  voices 
and  music  for  the  viola  and  other  instru- 
ments. Some  of  his  MSS.  are  in  the  Royal 
Library,  Munich. — Fetis  ;  Mendel. 

ALESSANDRO  SEVERO  (Alexander 
Severus),  Italian  opera,  music  by  Antonio 
Lotti,  represented  at  Venice,  1717  ;  by  Chel- 
leri,  Brescia,  1718  ;  by  Sarri,  Naples,  1719  ; 
Bioni,  Breslau,  1733 ;  Bonno,  serenata,  Vi- 
enna, 1737  ;  by  Bernasconi,  Venice,  1741  ; 
and  by  Sacchini,  Venice,  1770.  Alexander 
Severus,  pasticcio,  by  Handel,  Covent  Gar- 
den Theatre,  London,  Feb.  25,  1738.  The 
score  was  composed  entirely  of  his  own  old 
music,  with  a  special  overture,  which  be- 
came very  popular. 

ALESSANDRO  STRADELL.\.  See 
StradeUa. 

ALESSANDRO  E  TIMOTEO  (Alexander 
and  Timotheus),  Italian  opera,  music  by 
Sarti,  represented  in  Venice  in  1782  ;  rear- 
ranged by  Perotti,  London,  1800. 

ALESSIO,  D',   Italian    dramatic 

composer,  contemporary.     He  brought  out 


ALESSIO 


two  opere  buffe :  Elena  in  Troja,  and  Le 
figlie  di  Bianca,  at  Naples,  Teatro  Polite- 
ama,  iu  1875. — Fetis,  Supplement,  i.  11. 

ALEXANDER.     See  Alessandro. 

ALEXANDER  BALUS,  oratorio,  text  by 
Dr.  Thomas  Morell,  music  by  Handel,  first 
performed  at  Coveut  Garden,  London,  March 
9,  ITrtS.  Alexander  Balas  (as  it  should  be 
written).  King  of  Syria  from  150  to  14:6  b.c  , 
was  a  pretended  son  of  Antiochus  Ei^ipha- 
nes,  who  defeated  Demetrius  Soter  and 
took  possession  of  his  throne.  The  score 
of  the  oratorio,  in  Buckingham  Palace,  is 
dated  at  the  beginning  June  1,  1747,  and  at 
the  end  July  4,  1747.  Characters  represent- 
ed :  Alexander  Balus,  Ptolomee,  Jonathan, 
Cleopatra,  Aspasia,  Chorus  of  Israelites, 
Chorus  of  Asiatics.  Published  by  the  Hiln- 
del-Gesellschaft  (Leijiic,  1870). — Rockstro, 
Handel,  287  ;  Schcelscher,  Handel,  308. 

ALEXANDER,  JOHANN  (Joseph  ?),  lived 
at  Duisburg,  Rhenish  Prussia,  in  the  latter 
part  of  the  18th,  and  beginning  of  the  19th, 
centuries.  Violoncellist  and  instrumental 
composer,  etc.  His  variations  for  the  vio- 
loncello on  the  air,  O  mein  lieber ;  and  an 
arietta  on  the  German  air,  Mich  fliehen 
meine  Freuden,  were  popular.  He  was  the 
author  of :  Anweisung  fiir  das  Violoncell 
(Leipsic,   1801).— Fetis  ;  Mendel. 

ALEXANDER'S  FEAST,  ode,  words  by 
Dryden,  music  by  Handel,  first  performed 
at  Covent  Garden  Theatre,  London,  Feb. 
19,  1736.  The  jDoem,  the  second  of  Dry- 
den's  odes  for  St.  Cecilia's  Day,  "  Alexander's 
Feast ;  or.  The  Power  of  Music,"  was  rear- 
ranged with  additions  by  Newburgh  Ham- 
ilton. The  score  is  dated  at  the  beginning, 
Jan.  5,  1736,  and  at  the  end,  Jan.  17,  1736. 
The  principal  singers  were  Siguora  Strada, 
Miss  Young  (afterwards  Mrs.  Dr.  Arne), 
John  Beard,  and  Erard,  a  basso.  It  was 
published  by  Walsh  in  1738,  and  by  the 
Handel  Gesellschaft  (Leipsic,  1862).  In 
1790  Mozart  wrote  some  additional  accom- 
paniments to  the  ode  for  Baron  von  Swieten, 
Vienna.  John  Clayton  had  attempted  in 
1711  to  write   music  to  Dryden's   ode,  but 


failed  through  his  incapacity  for  such  a 
task. — Rockstro,  Handel,  203  ;  Schcelcher, 
Handel,  179  ;  Crysander,  H.  417. 

ALEXANDRE  A  BABYLONE  (Alexan- 
der at  Babylon),  French  opera  in  three  acts, 
music  by  Lesueur,  received  at  the  Opera, 
Paris,  in  1823,  but  never  rejiresented. 

ALEXANDRE,  CHARLES  GUIL- 
LAUISIE,  flourished  in  Paris  about  the 
middle  of  the  18th  century.  Dramatic  com- 
poser, wrote  the  operas  comiques :  Georget 
et  Georgette,  given  iu  Paris  at  the  Theatre 
de  la  Foire  Saint  Laurent,  1761 ;  Le  petit 
maitre  en  province,  ib..  Theatre  Italien, 
1765 ;  L'esj^rit  du  jour,  ib.,  1767 ;  Music 
for  the  two  spectacular  pieces,  Le  triomphe 
de  I'amour  conjugal,  and  La  conquete  du 
Mogol,  performed  at  the  Theatre  du  Palais 
des  TuUIeries,  1755  and  1756.  Among 
his  instrumental  music  are  sis  duets  for 
two  violins,  op.  8  (Paris,  1775). — Fetis,  Sup- 
plement, i.  11. 

ALFONSO  UND  ESTRELLA,  giand  op- 
era iu  three  acts,  text  by  Franz  von  Schober, 
music  by  Franz  Schubert,  written  in  1821- 

23.  It  remained  unre^jresented  vintil  Juue 

24,  1854,  twenty-six  j-ears  after  Schubert's 
death,  wheu  it  was  given  a  single  perform- 
ance, under  the  direction  of  Liszt,  at  the 
court  theatre,  Weimar,  on  the  birthday  of 
the  Grand  Duke.  In  1879  Kajsellmeister 
Johann  Fuchs,  of  the  court  ojaera,  Vienna, 
rewrote  the  libretto  and  shortened  the 
work,  and  it  was  produced  at  Cai-lsruhe 
with  gi-eat  success,  March  22,  1881 ;  and  in 
Vienna,  April  15,  1882.  The  scene  of  the 
libretto  is  iu  Sjjaiu,  where  Troila,  King  of 
Leon,  deprived  of  his  throne  by  Mauregato, 
lives  in  a  secluded  valley  with  his  son  Al- 
fonso. Estrella,  daughter  of  Mauregato,  is 
beloved  by  Adolfo,  her  father's  generalis- 
simo, but  meets  Alfonso,  while  hunting,  and 
loves  him.  Alfonso  defeats  in  battle  Adolfo, 
who  has  rebelled,  saves  Mauregato,  wins 
Estrella,  and  receives  the  kingdom  from 
his  father,  Troila,  who  has  himself  been  re- 
instated by  Mauregato.  The  original  cast 
(1854)  was  as  follows  : 


84 


ALFEED 


Troila Herr  Milde. 

Alfouso Herr  Liebert. 

Adolfo Herr  Mayrliofer. 

Mauregato Herr  HOfer. 

Estrella Frau  Milde. 

The  original  score,  without  the  overture,  is 
in  the  library  of  the  Musikverein,  Vienna. 
The  overture,  which  is  dated  December, 
1823,  belongs  to  Herr  Spina,  who  published 
it  in  1867.  A  bass  and  a  tenor  air  have 
also  been  published,  with  pianoforte  ac- 
comj)animent,  by  Diabelli  (1832). — Hellborn 
(Coleridge),  i.  234  ;  ii.  293  ;  Grove,  iii.  335  ; 
Leipsic,  Siguale  (1882),  465. 

ALFRED  THE  GREAT,  King  of  Eng- 
land, has  furnished  the  subject  of  the  fol- 
lowing works  :  Alfred,  English  masque,  text 
by  Thomson,  and  Mallet,  music  by  Thomas 
Augustine  Arne  (see  Rule  Britannia),  Drury 
Lane,  London,  Aug.  14,  1740  ;  do.,  same 
text,  music  by  Charles  Burney,  London, 
1759  ;  Alfred,  lyric  tragedy,  by  Pitter- 
lin,  Magdeburg,  1797  ;  Alfredo  il  Grande, 
music  by  Donizetti,  Venice,  1823  ;  Alfred, 
grand  opera,  text  by  Kotzebue,  music 
by  Wolfram,  Dresden,  1826  ;  Alfred  der 
Grosse,  German  heroic  opera  iu  two  acts, 
text  by  Korner,  music  by  Johanu  Philipp 
Schmidt,  Hamburg,  about  1840  ;  opera  in 
three  acts,  music  by  Reuling,  Vienna,  1840  ; 
German  opera,  by  Maurice  Chemin-Petit, 
Halle,  1858  ;  Konig  Alfred,  three  acts,  text 
by  Logan,  music  by  Joachim  Raff,  Weimar, 
March  9,  1851  ;  Alfred,  King  of  Wessex, 
English  opera,  by  Raymond  Stainford,  Liv- 
erpool, 1864. 

ALGHISI  (Algisi),  PARIS  FRANCESCO, 
born  at  Brescia,  Italy,  June  2,  1666,  died 
there,  March  29, 1743.  Dramatic  composer 
and  organist  at  the  cathedral  of  his  native 
city  ;  lived  for  some  time  in  Venice,  where, 
in  1690,  he  brought  out  two  operas  : 
L'  amor  di  Curzio  per  la  patria,  and  R 
trionfo  delta  continenza,  at  the  Teatro  SS. 
Giovanni  e  Paolo. — Fetis. 

ALI  BABA  (or,  Les  quarante  voleurs  ; 
The  Forty  Thieves),  opera  in  four  acts  and 


a  jJrologue,  text  by  Scribe  and  Melesville, 
music  by  Cherubini,  represented  at  the 
Aeadomie  Royale  de  Musique,  Paris,  July 
22,  1833.  The  libretto,  the  subject  of 
which  is  fi'om  the  "  Ai-abian  Nights,"  is  but 
a  rearrangement  of  Koukourgi,  an  unrep- 
resented opera  written  by  Cherubini  in 
1793  (text  by  Duveyrier-Melesville  pere), 
with  the  music  adajjted  and  partly  rewrit- 
ten. The  overture  was  probably  new  ;  and 
the  composer  introduced  into  the  work  the 
march  from  Faniska  and  the  bacchanale 
from  his  ballet  Achille  a  Sciros.  A  German 
Schauspiel  of  the  same  title,  text  by  Th. 
Hell,  music  by  Marschner,  was  given  about 
1822.  Ali  Baba,  operetta,  music  by  Charles 
Lecocq,  given  at  the  Alhambra,  Brussels, 
Nov.  11,  1887. 

ALI  PASCHA  VON  JANINA  (Ali  Pa- 
sha of  Janina),  opera  by  Lortzing,  libretto 
founded  on  the  story  of  the  celebrated  des- 
pot of  Albania,  first  rejoresented  at  Cologne 
in  1824.  This,  Lortzing's  first  opera,  was 
produced  with  success  in  the  chief  cities  of 
German}-. 

ALIANI,  FRANCESCO,  born  at  Piacen- 
za,  died  therein  May,  1812.  Violoncellist ; 
first  instructed  by  his  father,  a  violinist, 
then  pupil  of  Giusejiise  Rovelli  at  Parma. 
After  five  years  he  returned  home,  and  be- 
came first  violoncellist  in  the  orchestras  of 
the  church  and  the  theatre.  He  has  pub- 
lished three  books  of  duets  for  two  violon- 
cellos. His  son  Luigi,  born  at  Piacenza  in 
1789,  was  a  violinist  of  distinction. — Fetis  ; 
Mendel. 

ALICE  DE  NEVERS,  opera  fantasy, 
original  plot,  text  and  music  by  Herve, 
represented  at  the  Folies  Dramatiques, 
Paris,  April  22,  1875.  Sung  by  Herve, 
Mme  Desclauzas,  and  Mile  Perrier. 

ALIDIA.     See  Dernier  jour  de  Pompeii. 

ALINE,  REINE  DE  GOLCONDE 
(Alina,  Queen  of  Golconda),  opera  ballet  in 
three  acts,  text  by  Sedaine,  music  by  Mon- 
signy,  represented  at  the  Comedie  Itali- 
enne,  Paris,  April  15,  1766.  The  subject, 
which   is   from   a   story  by  Boufflers,  has 


3B 


ALINOVI 


been  treated  also  by  :  Eauzzini  in  La  re- 
gina  di  Golconda,  Loudon,  1775  ;  Uttini, 
Stockholm,  1775;  Martyu  y  Solar,  Flor- 
ence, 1781  ;  Johaun  A.  P.  Schulz,  Coijen- 
hagen,  1789  ;  Berton,  opcra-comique  iu 
three  acts,  text  by  Vial  and  Favieres,  The- 
atre Feydeau,  Paris,  Sept.  2,  1803,  ar- 
ranged as  a  ballet  by  G.  Dugazou,  Aca- 
demie  Koyale,  Oct.  1,  1823,  and  Opei'a 
National,  Nov.  16,  1847;  Boieldieu,  St. 
Petersburg,  March  5,  1804  ;  Karl  Blum, 
Aline,  ballet,  Vienna,  1814  ;  Donizetti, 
Alina,  regiua  di  Golconda,  text  b}'  Ko- 
mani,  Genoa,  1828,  St.  Petersburg,  1851, 
Paris,  March  10,  1870  ;  Braga,  Naples, 
1853  ;  Vizentini,  Alina,  opera  semi-seria, 
Verona,  1878. 

ALINOVI,  GIUSEPPE,  born  at  Parma, 
Sept.  27,  1790,  died  (?).  Instrumental 
and  vocal  composer,  pupil  of  Francesco 
Fortuuati  ;  devoted  himself  to  teaching 
vocal  music  and  pianoforte.  The  manu- 
scripts of  his  numerous  compositions,  sa- 
cred and  profane,  are  to  be  found  iu  nearlj' 
all  the  archives  of  Italy.  He  published  : 
Divertimento  per  corno  con  accomp.  di 
grande  orchestra  (Milau,  Ricordi)  ;  lutro- 
duzione  e  tema  origiuale  con  variazioni 
per  il  pianoforte  (ib.). — Fetis. 

ALIPKANDI,  BERNARDO,  born  in 
Tuscauy  in  the  beginning  of  18th  century. 
In  1730  he  was  composer  at  the  court  of 
Bavaria,  and  later  director  of  the  orchestra 
at  Munich.  Works— Operas  :  Mithridate, 
given  at  Munich  iu  1738  ;  Iphigenie,  ib., 
1739 ;  Semiramide,  ib.,  1740.  His  son 
Bernardo,  who  was  first  violoncellist  in  the 
Munich  orchestra  about  1780,  composed 
for  the  violoncello  and  probably  for  the 
viola  di  gamba. — Fctis  ;  Mendel. 

ALKAN,  CHARLES  HENRI  VALEN- 
TIN, born  iu  Paris  iu  December,  1813  ; 
known  as  Alkan  aine.  Pianist ;  pupil  of 
the  Conservatoire,  Paris.  He  won  the  first 
prize  of  solfege  when  only  seven  years  old, 
when  he  also  played  on  the  violin  iu  public 
an  air  varii'  by  Rode.  He  was  the  pupil  of 
Zimmermaun  on   the  pianoforte,  and  took 


the  first  prize  in  1823  ;  of  Dourlen  in  har- 
mony, winning  the  first  prize  in  1826  ;  and 
he  obtained  honorable  mention  at  the  Cou- 
cours  de  ITnstitut  for  fugue  and  counter- 
point iu  1831.  After  a  visit  to  London  in 
1833,  he  settled  in  Paris  as  a  teacher  of 
the  pianoforte.  By  him  are  seventy-two 
published  works,  including  transcriptions, 
songs,  pieces  caracteristiques,  two  con- 
certos, sonatas,  duos,  a  trio,  etudes,  and 
cajjrices.  Among  them  are  :  Trois  grandes 
etudes  ;  Fantaisie  pour  la  main  gauche 
seule ;  Introduction  et  Finale  pour  la  main 
droite  seule  ;  Etude  a  mouvement  sembla- 
ble  et  perpetuel  pour  les  deux  mains ;  12 
etudes  dans  les  majeurs,  op.  35  ;  12  etudes 
dans  les  mineurs,  op.  39,  etc.  His  brother, 
Napoleon  Morhange  (born  in  Paris,  Feb. 
2,  1826),  was  a  pupil  of  Adam  and  of  Zim- 
mermaun at  the  Conservatoire,  and  iu  1850 
won  the  second  prize  of  the  Institut  de 
France  for  his  cantata  Emma  et  Eginhard. 
He  has  published  several  works  for  the 
j)ianoforte. — Grove  ;  Fetis  ;  Mendel. 

ALL  THE  WORLD  OVER.  See  3Iari- 
tana. 

ALLA  POMPA  CHE  SI  APPRESTA. 
See  A'ida. 

ALLCHIN,  WILLIAM  THOMAS  HOW- 
ELL, boru  iu  England  in  1843,  died  at  Ox- 
ford, Jan.  8,  1863.  Organist  of  St.  John's 
College,  Oxford,  from  1875.  Works  :  The 
Rebellion  of  Korah,  sacred  dramatic  can- 
tata, performed  1869 ;  Songs. 

ALLEGRI,  DOMENICO,  born  in  Rome, 
second  half  of  16th  century,  died  (?).  Ma- 
estro di  cajijaella  iu  the  Tiberiau  Basilica 
in  1610-1629.  He  was  one  of  the  first 
composers  who  wrote  obligato  instrumental 
accompaniments  to  choral  compositions.  His 
first  attempt  at  this  style  of  writing  was  in 
his  work  ;  Modi  quos  expressit  in  choris 
(Rome,  1617).  He  was  a  composer  of  sec- 
ondary importance,  and  one  of  those  who 
sought  to  revive  the  old  style  of  vocal  writ- 
ing, "  ad  voces  sequales."  An  "  Euge,  serve 
bone "  for  twelve  tenors,  a  "  Beatus  ille 
servus "  for  twelve  basses,  and    a   sixteen 


ALLEGRI 


voice  mass  of  his  are  in  the  Santini  collec- 
tion in  Rome. — Ambros,  iv.  107  ;  Fetis. 

ALLEGRI,  FILIPPO,  born  at  Florence, 
July  18,  17G8,  died  (?).  Church  composer, 
pupil  of  Luigi  Bracciiii  ;  became  j)rofessor 
lit  the  seminary,  and  maestro  di  cappella  at 
San  Michele.  Among  his  compositions  are  : 
Requiem  Mass  for  four  voices  and  grand  or- 
chestra ;  O  Salutaris  hostia,  for  soprano  and 
bass  ;  Verbum  caro  factum  est,  motet  for 
tenor  and  bass. — Fetis  ;  Mendel. 

ALLEGRI,  GREGORIO,  born  in  Rome 
in  1560,  died 
there,  Feb.  18, 
1652.  He  was  of 
the  same  family 
as  Antonio  Alle- 
gri,  the  painter, 
surnamed  "11 
Correggio."  A  pu- 
pil of  Giovanni 
Maria  Nanini,  he 
reached  the  age 
of  manhood  just 
as  Palestriua's  fame  was  at  its  height.  He 
was  then  a  beneficed  priest  attached  to  the 
cathedral  at  Fermo.  On  Dec.  6,  1629,  Ur- 
ban Vni.  called  him  to  Rome  to  enter  the 
college  of  pajjal  singers,  where  he  remained 
until  his  death.  He  was  buried  in  S. 
Maria  in  Vallicella,  in  the  tomb  appropriated 
to  the  college  of  singers  of  the  Vatican 
choir.  Allegri  was  one  of  the  shining 
lights  of  the  great  Roman  School,  some- 
times called  the  Palestrina  School.  If  his 
music  shows,  in  general,  all  the  purity  of 
style,  objective  beauty,  and  elevation  of 
religious  sentiment  for  which  the  school  is 
noted,  the  subjective  emotional  element  of- 
ten asserts  itself.  In  Allegri  the  use  of 
dissonances  for  the  expression  of  agonized 
grief  is  more  frequent,  and  plainly  more 
intentional,  than  in  Palestrina  and  Nanini  ; 
nor  are  other  quasi-picturesque  traits 
wanting.  In  this  sense,  Allegri  may  be 
looked  upon  as  a  sort  of  connecting  link 
between  the  so-called  "great"  (Roman) 
period  of  Italian  music,  and  the  ensuing 


"  beautiful  "  (Neapolitan)  period.  His  most 
famous  composition  is  his  great  Misei-ere 
for  two  choruses,  which  is  stiU  sung  in  the 
Sixtine  Chapel  on  every  Good  Friday.  His 
published  compositions  are  :  II  primo  libro 
di  concerti  a  due,  tre  e  quattro  voci  (Rome, 
Soldi,  1618) ;  II  secondo  libro  di,  etc.  (ib., 
1619)  ;  Gregorii  Allegri  Romani  Firmanpe 
ecclesife  beneficiati  motecta  duarum,  trium, 
quatuor,  quinque,  sex  vocum,  liber  primus 
(ib.,  1620) ;  do.,  do.,  liber  secundus,  (ib., 
1621) ;  Egredimini  et  videte,  for  2  sopranos 
and  tenor,  in  Fabio  Coustantini's  "  Scelta  di 
motetti"  (1618).  A  large  number  of  works 
in  MS.  are  in  the  archives  of  S.  Maria  in 
Vallicella,  the  Pontifical  Chapel,  the  Collegio 
Romano,  and  in  the  Library  of  the  Abbate 
Santini.  The  Altaemps  collection,  in  the 
Collegio  Romano,  contains  several  impor- 
tant instrumental  compositions. — Ambros, 
iv.  90 ;  Fetis  ;  Naumann  (Ouseley),  i.  512. 

ALLEGRO,  IL  PENSEROSO  ED  IL 
IMODERATO,  L',  text  adapted  from  Milton 
by  Charles  Jeunen.s,  who  added  the  third 
part,  nnisic  by  Handel,  first  produced  at  the 
Lincoln's  Inn  Fields  Theatre,  London,  Feb. 
27, 1740.  The  score,  in  Buckingham  Palace, 
is  dated  at  the  beginning  Jan.  19,  1740,  and' 
at  tl)e  end  Feb.  4,  1740.  Published  by 
Walsh,  and  by  the  Hiindel-Gesellschaft 
(Leipsic,  1859).  Robert  Franz  has  supphed 
the  score  with  complete  additional  accom- 
paniments.— Rockstro,  Handel,  212  ;  Schoel- 
cher,  Handel,  229  ;  Chrysander,  III.  112. 

ALLEN,  ALFRED  BENJTUyilN,  born  at 
Kingsland,  Middlesex,  England,  Sept.  4, 
1850,  still  living,  1888.  Pianist,  studied  at 
the  London  Academy  of  Music,  1868. 
Works  :  Songs,  orchestral  and  organ  music, 
and  a  secular  cantata. 

ALLEN,  GEORGE  BENJAjVIIN,  born  in 
London,  April  21,  1822,  still  living,  1888. 
Dramatic  composer,  chorister  at  St.  Martin's- 
in-the  Field,  18.30,  in  Westminister  Abbey, 
1832,  at  Armagh  Cathedral,  Ireland,  1843, 
resierned  in  1862,  and  became  organist  and 
choirmaster  of  All  Saints'  Church  at  Ken- 
sington ;    aftei-wards    organist    at   Toorak, 


37 


ALLES 


Melbourne,  Australia,  wliere  he  was  also 
conductor  of  Lj'ster's  Ojjera  Comi^any.  He 
organized  an  opera  company  with  which  he 
travelled  through  Australia,  New  Zealand, 
and  India  with  great  success ;  and  on  his 
return  to  England  established  a  comedy 
opera  company.  Works — Operas  :  Castle 
Grim,  given  in  London,  18G5  ;  The  Viking ; 
The  Wicklow  Rose,  Manchester,  1882  ;  2 
others  in  manuscript.  Cantatas :  Harvest 
Home,  1863;  The  Vintage  of  the  Rhine, 
1865;  Ministering  Angels,  1884;  Te  De- 
ums  ;  Anthems  ;  Concerted  vocal  music  ; 
Songs. 

ALLES  riJHLT  DER  LIEBE  FREU- 
DEN.     See  ZauberflOff. 

ALLEVI,  GIUSEPPE,  Italian  composer 
of  the  17th  century.  He  was  maestro  di 
capisella  of  the  cathedral  at  Piacenza  ;  au- 
thor of  three  books  of  sacred  music,  the 
second  and  third  of  which  are  entitled : 
Composizioni  sacre  a  due,  tre,  e  quattro 
voci,  Missa  jser  li  defonti  a  quattro  a  cap- 
pella  (Venice,  Magni  e  Gardano,  16G2) ; 
Terzo  libro  delle  composizioni  sacre,  etc. 
(Bologna,  Monti,  1668).— Ft-tis. 

ALLEZ  DANS  UN  CLOiTRE.  See 
Hamlet. 

ALLISON,  HORTON  CLARIDGE,  born 
in  Loudon,  July  25, 
1846.  Organist  and 
pianist,  pupil  at  the 
I  Royal  Academy  of 
Music   of  William 


Henry  Holmes,  of 
Macfarreu  and  of 
Garcia,  at  the  Con- 
servatorium,  Leipsic 
(1862-65),  of  Plaidy, 
Riehter,  Reinecke, 
Hauptmann,  and  Moscheles  ;  won  the  first 
prize  in  1865,  and  played  at  the  Gewand- 
haus  Concerts  during  his  stay  at  Leipsic. 
Organist  of  St.  James's,  London,  1867  ;  St. 
Paul's,  Bolton,  1868;  St.  Paul's,  Kersal, 
Manchester,  1869  ;  appointed  examiner, 
li.A.M.,  1875,  and  one  of  the  Queen's  ex- 
aminers, 1884.   He  became  A.R.A.M.,  1862  ; 


Mus.  Bac,  Cambridge,  1877 ;  Mus.  Doc, 
Dublin,  1877;  M.R.A.M.,  1880.  Works: 
Sacred  cantata  for  solo  voices,  chorus,  and 
orchestra  (1871),  performed  in  1877  ;  Can- 
tata for  do.  (1874) ;  Symphony  for  full  or- 
chestra (1875) ;  Suite  for  do. ;  Concerto  for 
pianoforte  and  orchestra  (1870),  performed 
1877  ;  Le  Champ  de  Mars,  war-march  for 
orchestra  (1873)  ;  Sonata  for  organ  (1865) ; 
String  quartet  (1865)  ;  Concerto  for  two 
pianofortes  (1865),  and  other  pieces  and 
studies  for  pianoforte  ;  The  110th,  117th, 
and  134th  psalms,  for  .solo  voices,  chorus, 
and  string  orchestra  (1876)  ;  Lord  Wolse- 
ley's  March,  1883  ;  Anthems ;  Songs  and 
four-jjart  songs. 

ALLISON,  RICHARD,  English  composer 
and  teacher  of  music  in  London  in  the 
reign  of  Elizabeth.  His  name  first  occurs 
as  a  contributor  to  Thomas  Este's  Whole 
Booke  of  Psalms,  1592.  He  published  The 
Psalmes  of  David  in  Meter,  1599,  a  collection 
of  old  church  tunes  harmonized  by  himself, 
in  four  parts,  with  an  accompaniment  for 
the  lute,  orpharyon,  citterne,  or  bass-viol ; 
also  An  Houre's  Recreation  in  Musicke,  apt 
for  Instruments  and  Voyces,  1606. 

ALLMACHTGE  JUNGFRAU.  See 
Tannhdusn: 

ALL^MACHT'GER  VATER.     See  Eienzi. 

ALJUA  L'  INCANTATRICE,  opera  seria 
in  four  acts,  text  bj-  Saint-Georges,  music 
by  Flotow,  represented  at  the  Theatre 
Italien,  Paris,  April  9,  1878.  This  work  is 
the  development  of  an  older  opera  by  the 
same  master,  entitled  L'Esclave  de  Ca- 
moens,  given  in  Paris  in  1843,  and  later  in 
Vienna  under  the  title  of  Indra. 

ALMEIDA,  FERNANDO  D',  born  at 
Lisbon,  Portugal,  about  1618,  died  at 
Tbomar,  March  21,  1660.  Church  com- 
poser, one  of  the  most  distinguished  pupils 
of  Duarte  Lobo,  and  highly  esteemed  by 
King  John  IV.  of  Portugal.  He  entered  the 
Order  of  Christ  at  Thomar  in  1638.  Of  his 
works  only  a  folio  volume  in  manuscript  is 
preserved,  containing  Lamentayoes,  Respon- 
sorias    e    Misereres    das    tres    Ofiicias    da 


ALMENEADER 


Quaita,    Quiuta   e   Sexta-feii-a   da   Semana 
Sauta.  — Vasconcellos. 

ALMENEADER,  KAKL,  boru  at  Eons- 
dorf,  near  Diisseldorf,  Oct.  3,  178G,  died  at 
Nassau,  Sept.  14,  1843.  Virtuoso  ou  the 
bassoon,  self  taught  on  his  instrument,  and 
jjupil  of  Beriihard  Klein  in  theory  ;  became 
instructor  of  the  bassoon  at  the  music 
school  in  Cologne  in  1810,  bassoonist  in 
the  theatre  orchestra  at  Frankfort  in  1812, 
bandmaster  of  a  regiment  in  1815,  and 
of  another  in  ISIG  at  Mainz,  where  he  set- 
tled, abandoning  the  military  career.  In 
1820  he  established  at  Cologne  a  factory 
for  wind  instruments,  but  gave  it  up  in 
1822,  and  joined  the  Nassau  court  orches- 
ti'a  at  Biebrich.  He  made  improvements 
in  his  instrument,  and  wrote  a  treatise  on 
it  (Mainz,  Schott,'  1824),  also  a  complete 
method  for  the  bassoon  (ib.).  Works  : 
Concerto  for  bassoon  (Mainz,  Schott)  ;  Pot- 
jjourri  for  bassoon  and  orchestra,  op.  3 
(ib.)  ;  Variations  for  do.,  with  violin,  viola, 
and  violoncello,  op.  4  (ib.)  ;  Introduction 
and  variations  for  bassoon  and  quartet,  op. 
6  (Darmstadt,  Alinsky)  ;  Duettinos  for  two 
bassoons,  op.  10,  etc.  In  MS. :  3  concertos 
for  bassoon  ;  Fantasia  for  oboe,  clarinet, 
basset-horn,  bassoon,  and  two  horns. — 
Fetis ;  do.,  Supplement,  i.  12;  Mendel; 
Schilling. 

ALillEA,  German  opera  in  three  acta, 
text  by  Feustking,  music  by  Handel,  rep- 
resented at  Hamburg,  Jan.  8,  1705.  The 
fuU  title  is  :  Der  in  Krohnen  erlangte 
Gliicks-Wechsel  ;  oder,  Almira,  KOuigin 
von  Castilien  (The  Vicissitudes  of  Eoyalty  ; 
or,  Almira,  Queen  of  Castile).  The  libretto 
is  a  translation  of  an  Italian  opera,  with  a 
similar  title,  music  by  Boniventi,  given  in 
Venice  in  1691.  It  was  Handel's  first  dra- 
matic work,  and  so  aroused  the  jealousy 
of  Keiser  that  he  wrote  music  to  the  same 
subject,  Hamburg,  1706.  Handel's  work 
was  revived  in  1878,  with  changes  by  J.  N. 
Fuchs,  on  the  two  hundredth  anniversary 
of  the  Hamburg  Theatre.  The  score  was 
piiuted   in    1873   by  the  German  Handel- 


'  Gesellschaf  t. — Eockstro,  Handel,  37  ;  Reiss- 
mann,  Handel,  17  ;  Schcelcher,  Handel,  12. 

ALONZO   ET   COEA.     See  Cura. 

ALOVISI  (Aloysius),  GIOVANNI  BAT- 
TISTA,  born  in  Italy,  second  half  of  the 
16th  century,  died  (?).  Church  composer, 
Minorite  friar,  and  musical  director  at  Bo- 
logna. AVorks :  Motecta  festorum  totius 
anni,  for  four  voices  (Milan,  1587) ;  Con- 
textus  musicus,  motets  for  two,  three,  and 
four  voices  (Venice,  162C)  ;  Cojlum  har- 
monicum,  masses  for  four  voices  (ib.,  1628)  ; 
Celestum  Parnassum,  motets,  litanies,  and 
canticles  for  two,  three,  and  four  voices  ; 
Vellus  aureum,  litanies  of  the  Virgin,  for 
from  four  to  eight  voices ;  Corona  stel- 
larum,  motets  for  four  voices  (Venice, 
1037).— Fetis  ;  SchiUing. 

ALQTJEN,  (PETEE  COENELIUS) 
JOHANN  D',  boru  at  Arnsberg,  West- 
l^halia,  in  1795,  died  at  Millheim-on-the- 
Ehine,  Nov.  27,  1863.  Pupil  in  Berlin  of 
Klein  and  Zelter,  settled  as  a  physician  at 
Miilheim,  and  composed  many  songs,  which 
became  extremely  popular,  and  rank  among 
the  best  of  their  kind.  His  younger 
brother  Franz,  a  ijiauist,  was  a  pupil  of 
Ferdinand  Eies,  with  whom  he  travelled 
extensively.  In  1827  he  settled  at  Brussels 
to  teach  music,  but  the  revolution  of  1830 
induced  him  to  go  to  London,  where  he 
pubhshed  several  concertos,  sonatas,  and 
other  pieces  for  the  ^jianoforte. — Fetis; 
Mendel ;  Schilling,  Supplement. 

ALS  DU  IN  KiJHNEM  SANGE.  See 
Tannhdi(f;c7: 

ALSDOEF,  WILHELM,  born  at  KO- 
nigsberg  about  1804,  still  living,  1888. 
Dramatic  comjioser  and  director  of  music 
at  Eostock,  where  he  produced  his  roman- 
tic opera,  Die  Wiedertiiufer,  oder  Johann 
von  Leyden,  in  1839. — Fetis. 

ALSLEBEN,  JULIUS,  bom  in  Berlin, 
March  24,  1832,  still  living,  1888.  Pianist, 
jjupil  of  Leuchtenberg  and  of  Emil  Zech  on 
the  pianoforte,  and  of  Dehn  in  composi- 
tion. Having  acquired  great  reputation  as 
a  pianist,  he  began  to  teach,  conducted  sev- 


ALT 


eral  singing  societies  in  1856-58,  and  be- 
came president  of  the  Berlin  Tonkiiustler 
Verein  in  1865.  He  is  contributor  to  vari- 
ous musical  papers,  edited  for  several  years 
the  Harmonic,  and  published  twelve  lectures 
on  the  history  of  music.  In  1872  he  re- 
ceived the  title  of  professor.  Works  :  Ee- 
quiem  for  six-  and  eight-part  choruses  a 
cappeUa  ;  Liturgy  ;  Overtures  ;  Marches  for 
orchestra  ;  Sacred  arias  ;  Songs  and  piano- 
forte pieces,  op.  1-21  (Mainz,  Berlin,  Ham- 
burg).— Mendel;  Eiemanu. 

ALT,  PHILLPP  SAMUEL,  born  at  Wei- 
mar, Jan.  16,  1689,  died  there  in  1750. 
Composer  of  church  and  chamber  music, 
pupil  of  Dresen  and  Strattuer  in  singing,  of 
Heintze  and  Walther  on  the  pianoforte,  and 
of  the  latter  also  in  composition.  After 
studying  lav?  at  Jena,  he  became  organist  at 
St.  James's  Church  in  Weimar,  where,  at 
the  same  time,  he  was  attornej'  to  the  court. 
His  compositions,  still  in  MS.,  are  preserved 
in  the  grand-ducal  library  at  Weimar. — 
Mendel  ;  Schilling. 

ALTAVILLA,  FEANCESCO,  born  in 
Italy,  contemporary.  Dramatic  composer, 
pupil  of  the  Royal  College  of  Music,  Naples. 
Works :  II  preventivo  d'arresta,  opera  buflfa, 
given  at  Naples,  Teatro  Nuovo,  1843 ;  Lo 
sposalizio  di  un  principe,  ib.,  1816;  I  pirati 
di  Barratiera,  ib.,  Teatro  del  Fondo,  18-16  ; 
Pace  figlia  di  amore,  ib.,  about  184.7 ;  I  liti- 
ganti,  II  debitore,  ib.,  about  1818  ;  Eaoul 
di  Crequi,  Turin,  about  1848. — P'etis. 

ALTDEUTSCHEE  SCHLACHTGE- 
SANG  (Old  German  Battle  Song),  for  male 
chorus  unisono,  with  orchestra,  by  Julius 
Eietz,  op.  12.  The  unusual  form  and  entire 
conception  of  this  work  is  proof  of  the  com- 
poser's talent  and  artistic  judgment.  Begin- 
ning in  the  minor  mode,  the  unison  chorus 
assumes  wider  propoi'tions  later  on,  hj  divis- 
ion in  parts,  and  ends  in  a  brilliant  major, 
extolling  the  immortal  fame  of  those  slain 
in  battle.  The  harmony  is  simple  and  dig- 
nified, the  orchestration  powerful  and  im- 
pressive.— Allgem.  raus.  Zeitg.,  xlv.  678; 
xlvii.  61. 


ALTEMPS,  DOM  FAUSTINO,  ItaUan 
church  composer  of  the  17th  centurj'.  He 
was  the  son  of  Serafino  Altemps,  a  musician 
of  Irish  origin,  who  was  chorister  in  the 
Church  of  the  Twelve  Apostles  ;  and  he  be- 
came a  Benedictine  monk  in  the  Convent  of 
St.  Calixtus,  Eome.  Works — Motets :  As- 
sumpta  est,  for  soprano,  bass,  and  organ  ; 
I  Paradisi  portte,  for  bass  and  organ  ;  Alle- 
luia ;  Beatus  vir,  for  4  voices  and  organ  ; 
Quasi  Cedms,  for  2  soprani,  bass,  and  or- 
gan ;  Veni  ad  liberandum,  for  do. — FOtis. 

ALTENBUEG,  JOHANTy"  EENEST,  born 
at  Weisseufels,  Prussian  Saxony,  1734,  died 
at  Bitterfeld  in  1796.  Virtuoso  on  the 
trumpet,  son  and  pupil  of  Johann  Caspar 
Altenburg,  who  was  chamber-trumpeter  to 
the  Duke  of  Weissenfels,  and  an  artist  of 
great  reputation.  The  son  served  as  field 
trumjjeter  during  the  Seven  Years'  War,  and 
then  became  organist  at  Bitterfeld.  He 
composed  works  for  two,  four,  six,  and 
eight  tnimpets,  and  WTote  a  most  valuable 
historical  and  theoretical  treatise  :  Versuch 
einer  Anleitung  zur  heroisch-musikalischen 
Trompeter-  imd  Paukeukunst  (Halle,  Hen- 
del,  1795),  the  second  part  of  which  con- 
tains a  concerto  for  seven  trumpets  and 
kettle-drums. — Fetis  ;  Mendel  ;  Schilling. 

ALTENBUEG,  IVHCH-IEL,  born  at  Alach, 
near  Erfurt,  May  27,  1584,  died  at  Erfurt, 
Feb.  12,  1640.  He  studied  theology  at 
Halle  about  1601,  and  from  1608  was  pastor 
in  different  towns  until  1637,  when  he  was 
appointed  to  the  same  office  at  St.  Andrew's, 
Erfurt.  He  did  much  towards  the  improve- 
ment of  church  music,  and  the  choirs  in  his 
jjarishes  were  considered  models.  Works  : 
Das  53ste  Kapitel  des  Jesaias,  mit  acht 
Stimmen  compouirt  (Erfurt,  1608) ;  Hoch- 
zeit-Motetten  von  sieben  Stimmen  (ib., 
1513) ;  Musikalischer  Sehirm  und  Schild 
der  Biirger,  etc.,  oder  der  55ste  Psalm  mit 
sechs  Stimmen  (ib.,  1618) ;  Kirch-  und  Haus- 
gesilnge  mit  fiinf,  sechs  und  acht  Stimmen 
(ib.,  11)20-21) ;  Intraden  mit  sechs  Stimmen 
(ib.,  1620) ;  Cantiones  de  aventu  Domini 
Nostri  Jesu,  quinque,  sex  et  octo  vocibus 


ALTfiS 


compositse  (ib.,  1621) ;  Musikalische  "Weih- 
naclits  uiid  neu  Jahrs  Zierde,  etc.,  zu  vier- 
Stimmen  (ib.,  1621)  ;   Musikalische 


neune 


Festgesiinge    mit    fiinf-viehrzehn   Stimmen 
(ib.,  1653).— Ft'tis  ;  Mendel;  Sclnlling. 

ALTES,  JOSEPH  HENRI,  born  at  Rou- 
en, Jan.  18,  1826,  still  living,  1888.  Virtu- 
oso on  the  ilute,  pupil  at  the  Paris  Conser- 
vatoire of  Tulou  ;  won  the  second  prize  in 
1841,  and  the  first  in  18-12.  He  entered  the 
orchestra  of  the  Opera,  and  in  1868  became 
professor  at  the  Conservatoire.  Works : 
Fantaisies,  variations,  etc.,  for  flute  and  or- 
chestra  or  pianoforte  (Paris,  Eichault). — 
Fetis  ;  Mendel. 

ALTNTKOL,  JOHANN  CHRISTOPH, 
still  living  in  17.58.  Church  music  com- 
poser, pupil  and,  from  1719,  son-in-law  of 
Johanu  Sebastian  Bach  ;  became  organist 
at  Naumburg,  Saxony,  in  17-48,  and  enjoyed 
the  reputation  of  being  one  of  the  best  per- 
formers of  his  time  on  the  organ  and  the 
harpsichord.  Works :  Several  cantatas  with 
grand  orchestra  ;  Magnificat  (Leipsic,  Breit- 
kopf  &  Hiirtel).  In  the  royal  library,  Ber- 
lin, are  :  Halleluia  for  four  voices  and  or- 
chestra ;  Nun  danket  alle  Gott,  motet  for 
five  voices.  Two  Sanctus,  for  four  voices 
and  organ  ;  Fugues ;  Sonata  for  harpsi- 
chord.— Futis  ;  Riemann. 

ALVAREZ  ACEVO,  BERNARDO,  born 
in  Spain  in  1787,  died  (?).  Church  com- 
poser of  considerable  repute  in  his  native 
country  ;  maestro  de  capilla  of  the  Church 
de  la  Soledad,  Madrid.  The  manuscripts 
of  several  of  his  works  are  in  the  archives 
of  the  Escurial.— Fetis. 

ALVENSLEBEN,  GEBHARD  VON, 
born  in  Berlin  (?)  about  1820,  still  living, 
(?).  Pupil  of  Marx  ;  became  conductor  of 
the  musical  society  EuteiiDe  at  Leipsic 
about  18-14.      Works:     Cantata    for    male 


2  (ib.) ;  Four  character- 
pieces   for   pianoforte. 


chorus  and  orchestra,  1838 ;  Symphony  in 
G  minor ;  Concert  overtui-e  in  D  minor ; 
Festival  overture  in  E,  1844  ;  Six  songs  for 
_^  soprano  and  pianoforte,  op.  1 

^^  (Berlin,  Bote   &  Bock) ;  do. 

for  contralto  and  pianoforte, 

op. 

istic 

op.  3  (Leipsic,  Hofmeister) ; 
do.  for  mezzo-soprano  and  do.,  op.  4  (Berlin, 
Stern) ;  Two  songs  for  bass  and  do.,  op.  5 
(Leipsic,  Wiistling).— Fetis;  Allgem.  mus. 
Zeitg.,  xl.  607  ;  xlvi.  56,  256. 

AMAD^l,  LADISLAW,  Baron  VON,  born 
at  Kaschau,  Hungary,  died  at  Felbar,  ib., 
Dec.  22,  1764.  A  favourite  national  poet 
and  composer,  whose  melodies  were  sung 
thi-oughout  his  native  country  and  handed 
down  by  tradition,  until  collected  and  pub- 
lished in  Pesth  by  Count  Thaddiius  Amade 
in  1836.  The  latter  (born  at  Presburg, 
Jan.  10, 1783,  died  in  Vienna,  May  17, 1845), 
was  an  excellent  pianist  and  successful 
composer,  and  is  to  be  credited  with  the 
discovery  and  education  of  the  musical 
genius  of  Franz  Liszt. — Mendel. 

AlVIADEI,  FILIPPO,  born  at  Reggio, 
Italy,  in  1683,  died  (?).  Dramatic  composer, 
known  only  by  the  opera,  Teodosio  il  Gio- 
vane,  given  in  Rome,  1711.  He  is  probably 
identical  with  the  Amadei  who  wrote,  con- 
jointly with  Orlaudini,  the  satirical  opera, 
Arsace,  given  in  Hamburg,  1722. — Fetis  ; 
Mendel. 

AMADEI,  ROBERTO,  born  at  Loreto,  in 
the  Marshes,  Italy,  Nov.  29,  1840,  still  liv- 
ing, 1888.  Dramatic  composer,  pupil  of 
his  father  and  of  Luigi  Vecchiotti ;  became 
orcanist  and,  in  succession  to  his  father, 
maestro  di  cappella  at  Loreto.  Works ; 
Luchino  Viscouti,  opera,  given  at  Lugo, 
1869  ;  Bianca  de'  Rossi,  do.,  given  at  Bari ; 
n  Bacchettone,  comic  opera  ;  Motet  for  8 
parts,  and  many  other  religious  composi- 
tions ;  Pianoforte  and  vocal  music— Fetis, 
Supplement,  i.  13. 

AMADIGI  DI  GALLIA  ;  or,  Oriana,  Ital- 
ian  opera,  text   by   Heidegger,  music    by 


AMADIS 


Handel,  represented  at  the  King's  Theatre, 
London,  jMay  25,  1715.  The  story  turns 
on  the  enchantments  of  the  sorceress,  Me- 
Hssa,  who  falls  in  love  with  the  hero,  Arua- 
digi,  and  who,  when  warned  by  a  messenger 
from  the  other  world  that  the  hapjainess  of 
her  rival,  Oriana,  has  been  decreed  by  the 
higher  powers,  kills  herself.  Dardano, 
Prince  of  Thrace,  Amadigi's  rival,  plays  a 
principal  part  in  the  earlier  parts,  and  reap- 
pears after  death  as  a  ghost.  The  respective 
characters  of  Amadigi,  Dardano,  Melissa, 
and  Oriana,  were  sung  by  Nicoliui,  Signora 
Diana  Vico,  Signora  Pilotti  Schiavonetti, 
and  Mrs.  Auastasia  Robinson.  Mucli  of  the 
music  of  Amadigi  was  transferred  from  a 
preceding  opera,  Silla.  Published  by  the 
Hiiudel-Gesellschaft,  Leipsic,  1874.- — Rock- 
stro,  Handel,  90 ;  Schoelcher,  Handel,  18. 

AMADIS  DE  GAULE,  lyric  tragedy  in 
five  acts,  text  by  Quiuault,  music  by  Lulli, 
represented  in  Paris,  Jan.  18,  1G84,  and  at 
Versailles  the  following  j-ear.  The  subject, 
one  of  the  knightly  romances  of  the  middle 
ages,  is  from  the  original  by  the  Portuguese 
Vasco  de  Lobeira  (1370),  which  was  trans- 
lated, about  1500,  into  Spanish  by  Ordonez 
de  Montalvo.  One  of  the  best  of  Lulli's 
works,  it  was  long  a  favourite  both  of  coiu't 
and  city.  Amadis,  a  parody  vaudeville,  text 
by  Romagnesi  and  Riccoboni  fils,  repre- 
sented at  the  Nouveau  Theatre  Italien,  Dec. 
19,  1710,  was  almost  as  popular.  On  the 
same  subject  are  :  Amadis  des  Gaules,  bj' 
Berton,  in  collaboration  with  La  Borde, 
Paris,  Dec.  4,  1771 ;  Amadis  des  Gaules, 
text  by  Devisme  and  Saint-Alphonse,  music 
by  Johann  Christian  Bach,  at  the  Opera, 
Paris,  Dec.  10,  1779  ;  Amadis  von  Gallieu, 
text  by  Gieseke  after  Wieland,  music  by  G. 
Stengel,  Hamburg  Theatre,  1798. 

AiMADORI,  GIUSEPPE,  flourished  in 
Rome  about  the  beginning  of  the  18th  cen- 
tury, was  stiU  living  in  1730.  Church  com- 
poser and  one  of  the  best  singing  masters 
of  his  time,  pupil  of  Bernacchi.  Works  :  H 
martirio  di  San  Adriano,  oratorio,  given  in 
riome,  1702 ;  Ecce  nunc  benedicite,  motet 


for  six  voices,  two  violins,  viola,  and  organ  ; 
Laudate  pueri,  for  eight  voices ;  Leetatus 
sum,  do. ;  Laudate  Dominum,  do. — Fetis  ; 
Schilling. 

(ANNA)  AMALIA,  Princess  of  Prussia, 
Abbess  of  Quedliuburg,  born  in  Berlin, 
Nov.  9,  1723,  died  there,  March  30,  1787. 
A  sister  of  Frederick  the  Great,  she  was  a 
pujDil  of  Kiruberger,  and  composed  many 
excellent  chorals,  and  the  cantata  Der  Tod 
Jesu  to  the  same  text  as  Graun's  work. — ■ 
Allgem.  d.  Biogr.,  i.  470 ;  Mendel ;  Schil- 
ling. 

(ANNA)  AMALIA,  Duchess  of  Weimar, 
born  Oct.  24,  1739,  died  April  10,  1807. 
She  composed  the  operetta,  Erwin  und  El- 
mire,  to  the  text  by  Goethe. — Allgem.  d. 
Biogr.,  i.  386 ;  Mendel  ;  Schilling. 

AMALIA  (MARIE  FRIEDERIKE),  Prin- 
cess of  Saxony,  born  at  Dresden,  Aug.  10, 
1794,  died  there,  Sept.  18,  1870.  Dramatic 
comjsoser,  and  writer  of  comedies  under  the 
name  of  Amalie  Heiter.  Works — Operas  : 
II  figlio  perduto  ;  II  marchesino  ;  La  vasa 
di  sabitata ;  Una  donna ;  Le  tre  einture ; 
Die  Siegesfahne ;  Der  Kauonenschuss,  etc. 
Stabat  mater,  and  other  church  music. — 
Mendel. 

AMANT  JALOUX,  L'  (The  Jealous  Lov- 
er), comedy  in  three  acts,  text  by  d'HMe, 
music  by  Gretry,  represented  at  Versailles, 
Nov.  20,  1778,  and  in  Paris,  Dec.  23,  1778. 
Original  plot ;  one  of  Gretry's  best  works 
and  long  popular.  The  serenade  sung  by 
Florival  in  the  second  act,  "  Tandis  que 
tout  sommeiUe,"  is  of  exquisite  sentiment. 
Of  the  same  title  is  an  opera  in  three  acts, 
music  by  Mengozzi,  represented  at  the 
Theatre  des  Varietes,  Montansier,  Feb.  2, 
1796. 

AMANT  STATUE,  L'  (The  Statue 
Lover),  opera  comique  in  one  act,  vaude- 
ville, text  bj'  Desfontaines,  represented  at 
the  Comedie  Italienne,  Feb.  20,  1781,  put 
into  music  by  Dalayi-ac,  Aug.  4,  1785.  A 
lover  imagines  that  he  appears  to  the  eyes 
of  his  mistress  as  an  animate  statue,  which 
plays  the  flute  ravishingly.     Of   the  same 


43 


AMANT 


title  ia  au  opera-comique  in  one  act,  text  by 
Guichard,  music  by  De  Lusse,  represented 
ill  Paris,  Aug.  18,  1759. 

AMANT,  STEPHEN  L',  French  dra- 
matic comjioser  of  the  18th  century,  iu  the 
second  half  of  which  he  was  instructor  at 
the  Royal  School  of  Music  in  Paris.  He 
wrote  five  Italian  operas,  which  were  jiopu- 
lar,  and  found  favour  with  Dr.  Burney.  He 
also  published  several  collections  of  songs, 
with  accompaniment  for  the  harp  or  piano- 
forte.— Mendel ;  Schilling. 

A]\LA.KYLLIS.     See  Circe. 

AMARYLLIS,  opera-ballet,  text  by  Dan- 
chet,  music  by  Campra,  represented  at  the 
Academic  Roj'ale  de  Musique,  Paris,  Sept. 
10,  1704.  The  same  as  the  Muses,  au  op- 
era-ballet by  the  same  authors,  given  the 
year  before,  with  an  additional  act. 

AMAT,  PAUL  LEOPOLD,  born  at 
Toulouse,  France,  in  1814,  died  at  Nice, 
Oct.  31,  1872.  He  went  to  Paris  in  1845 
and  soon  made  himself  known  bj'  a  num- 
ber of  romances,  melodies,  nocturnes,  and 
chansonettes  ;  in  1850  he  went  to  Algiers 
to  establish  a  music  house,  but  he  was  un- 
successful, and  returned  to  Paris,  where,  iu 
1856,  he  became  director  of  the  little  The- 
atre Beaumarchais.  Besides  his  numerous 
vocal  compositions  he  wrote  the  operette  : 
Elodie  ou  le  forfait  nocturne,  given  at  the 
Bouflfes  Parisiens,  185G,  and  the  cantata : 
Le  chant  des  Niyois,  performed  at  the 
Vaudeville,  1860,  and  for  which  he  was 
decorated  with  the  Legion  of  Honour. — 
Fetis,  Supplement,  14. 

A:VIAT0  (Amatus),  VINCENZO,  born  in 
Sicily,  Jan.  6,  1629,  died  at  Palermo,  July 
29,  1670.  Church  music  composer  of  great 
repute  in  his  time  ;  maestro  di  cajjpella  at 
the  Cathedral  of  Palermo.  Of  his  composi- 
tions are  known  :  Messe  e  salmi  di  vespro  e 
compieta,  for  four  and  five  voices  (Palermo, 
1656) ;  Concerti  sacri,  for  two  to  five  voices. 
He  left  also  an  opera,  LTsauro  (Aquila, 
1664),  of  little  merit.— Mendel  ;  Schilling. 

AMAZONE,  L'  (The  Amazon),  ojiera- 
comique  in  two  acts,  music  by  Amedce  de 


Beauplau,  imitated  from  a  vaudeville  called 
Le  petit  dragon,  by  Scribe  and  others,  rep- 
resented at  the  Opera  Comique,  Paris,  Nov. 
15,  1830  ;  Die  Amazone,  German  opera,  mu- 
sic by  Lindpaintner,  Stuttgart,  1831  ;  L' 
Amazone,  opera-comique  in  one  act,  text  by 
Thomas  Sauvage,  music  by  Thys,  Opera 
Comique,  Paris,  Nov.  25,  1845. 

AMAZONES,  LES;  or.  La  fondation 
de  Thebes  (The  Founding  of  Thebes),  opera 
in  three  acts,  text  by  Jouy,  music  by  Me- 
hul,  represented  at  the  Academie  Imperiale 
de  Musique,  Paris,  Dec.  17,  1811.  Al- 
though not  inferior  to  some  of  the  more 
successful  works  by  the  composer,  this 
work  was  j^erformed  but  nine  times.  Of 
the  same  title  are  the  opera  in  two  acts, 
music  by  Eisner,  represented  at  Briinn, 
1795  ;  Le  Amazzoni,  Italian  opera,  music 
by  Ottani,  Turin,  1784  ;  Le  Amazzoni,  by 
Pavesi,  Bergamo,  1809  ;  Die  Amazonen, 
ballet  by  Schweitzer,  about  1775. 

AMAZZONE  D'  ABAGONA,  L'  (The 
Amazon  of  Aragon),  Italian  opera,  music  by 
Cavalli,  represented  in  Venice,  1G52. 

AMAZZONE  CORSAEA,  L'  (The  Ama- 
zon Corsair),  Italian  opera,  music  by  Palla- 
vicini,  Venice,  1687  ;  Italian  opera,  music  by 
Monari,  Ducal  Theatre,  Milan,  about  1806. 

AMBASSADRICE,  L'  (The  Ambassa- 
dress), opera-coraique  in  three  acts,  origi- 
nal plot,  text  by  Scribe,  music  by  Auber, 
represented  at  the  Opera  Comique,  Paris, 
Dec.  21,  1836.  One  of  Auber's  most  pleas- 
ing works.  The  role  of  the  heroine,  Hen- 
riette,  long  served  for  the  debuts  of  pupils 
leaving  the  Conservatoire.  Among  its  no- 
ticeable parts  are  the  aria  buffa  :  "  Ah  ! 
que  moil  sort  est  beau !  "  the  romance : 
"  Le  ciel  nous  a  places  dans  des  rangs  ; " 
the  duo:  "Oui,  c'est  moi  qui  viens  ici, 
Madame  I'Ambassadrice  ;"  and  Charlotte's 
air  in  the  last  act :  "  Que  ces  murs  coquets." 
L'Ambassadrice  was  first  given  in  New 
York  at  Niblo's  Garden,  May  19,  1843,  by 
a  French  company  from  New  Orleans. 

AMBER  WITCH,  THE,  English  ro- 
mantic  opera  iu  four   acts,  original  plot, 


43 


AMBIELA 


text  by  H.  F.  Chorley,  music  by  William 
Vinceut  Wallace,  first  represented  at  Her 
Majesty's  Theatre,  London,  Feb.  28,  1861. 
It  was  sung  by  Sims  Reeves,  Charles  Sant- 
ley,  and  Mnie.  Leniniens-Sherrington. 

AMBIELA,  ]\nCHELE,  born  in  Aragon, 
Spain,  about  1665,  died  at  Toledo,  March 
23,  1733.  A  secular  priest,  he  studied  mu- 
.sic  in  a  monastery  of  his  native  province, 
and  was  at  first  maestro  de  capilla  in  some 
churches  of  minor  importance,  then,  in 
1700-7,  at  the  Cathedral  of  Saragossa, 
and  from  1710  at  Toledo.  He  won  a  brill- 
iant reputation  with  his  numerous  compo- 
sitions, a  large  collection  of  which  is  pre- 
served in  the  Cathedral  of  Oviedo. — Fetis. 

AMBLEVILLE,  CHARLES  D',  French 
composer  of  church  music,  flourished  in 
the  first  half  of  the  17th  century.  He  was 
a  Jesuit  in  the  Maison  professe  de  Cler- 
mont, Paris.  Works  :  Octonarium  sacrum, 
etc.  (Paris,  Ballard,  1634) ;  Harmonia  sacra, 
etc.  (ib.,  1638)  ;  Domine,  salvum  fac  regem ; 
Hymns,  anthems,  etc. — Fetis  ;  Mendel. 

A]\IBRONN,  PETER  CHRISTIAN,  born 
at  Meiningen,  Dec.  10,  1742,  died  about  the 
end  of  the  18tb  century.  Chamber-musician 
and  pianist  of  the  ducal  orchestra  in  Mei- 
ningen ;  one  of  the  best  virtuosi  of  his  time. 
His  compositions  were  commended  as  mas- 
terpieces of  invention  and  contrapuntal  skill. 
— Mendel ;  Schilling. 

AMBROS,  AUGUST  WILHELM,  born 
at  Mauth,  Bohemia,  Nov. 
17, 1816,  died  in  Vienna, 
June  28,  1876.  He  was 
educated  for  the  Aus- 
trian civil  service,  left 
the  University  of  Prague 
in  1840  with  the  title  of 
Doctor  Juris,  and  en- 
tered the  office  of  the 
attorney-general  ;  but 
he  gave  all  his  leisure  to 
the  study  of  music,  and  after  1850  became 
known  as  a  writer  on  that  art.  His  "  Die 
Granzen  der  Poesie  und  der  Musik,"  an 
answer    to  Hauslick's   "  Vom    musikalisch 


SchiJnen,"  called  forth  much  journalistic 
criticism,  but  won  the  admiration  of  the 
best  German  musicians.  It  was  followed  by 
a  series  of  essajs,  "  Culturhistorische  Bilder 
aus  dem  Musikleben  der  Gegenwart "  (2d 
ed.,  Matlies,  Leipsic,  1865).  About  this 
time  he  was  engaged  hj  Leuckhart  to  begin 
his  life's  work,  the  "  Geschichte  der  Musik," 
for  which  he  made  extensive  researches  in 
1860-73  in  the  Italian  and  German  libra- 
ries. Through  the  liberality  of  the  Acad- 
emy of  Science  at  Vienna  he  was  enabled 
to  pursue  this  important  work,  the  four 
volumes  of  which  were  published  in  1862 
-78,  and  a  fifth  (posthumous)  in  1882. 
In  1869  he  became  professor  of  the  his- 
torj'  of  music  in  the  University  of  Prague. 
Works:  Overtures  to  Othello,  and  Calde- 
ron's  Magico  Prodigioso ;  Wanderstiicke, 
Kinderstiicke,  Landschaftsbilder  (pianoforte 
pieces)  -,  Songs  ;  Stabat  mater  ;  2  masses  in 
B-flat  and  A  minor. — Fetis  ;  Grove  ;  Men- 
del, i.  193 ;  Ergiinz.,  11 ;  Wurzbach,  i.  26. 

AJNIBROZ  (Ambrosch),  JOSEF  KARL, 
born  at  Krumau,  Bohemia,  May  6,  1759, 
died  in  Berlin,  Sept.  8,  1822.  Tenor  singer, 
pupil  of  Kozeluch  the  elder  in  Prague. 
He  made  his  debut  at  the  theatre  of  Bai- 
reuth  in  1784,  then  sang  in  Hamburg,  Han- 
over, and  Vienna,  and  in  1791  was  engaged 
for  the  National  Theatre  in  Berlin,  where 
he  entered  upon  a  brilliant  career,  as  one  of 
the  most  excellent  dramatic  singers  of  his 
time.  Many  of  his  songs,  published  in  Ber- 
lin, Hamburg,  and  Zerbst,  became  favour- 
ites.— Fetis  ;  Mendel ;  Schilling. 

AMBROSE,  Saint,  Archbishop  of  Milan, 
born  in  340,  died  in  Milan,  April  4,  397. 
He  was  the  first  to  regulate  the  church 
chants  bj'  a  fixed  code  of  laws.  He  author- 
ized the  four  authentic  modes,  since  known 
as  the  Dorian,  Phrygian,  Lydian,  and  Mixo- 
Lydian,  but  not  to  be  confounded  with  the 
Greek  modes  of  the  same  names  (see  Am- 
bros,  ii.  13,  126).  He  founded  the  Ambro- 
sian  chant,  which,  although  superseded 
about  the  year  600  by  the  Gregorian  in 
Rome,  and  later  in  most  parts  of  Europe, 


AME 


held  its  own  in  Northern  Italy  for  several 
centuries,  and  is  stiU  cultivated  in  Milan 
(for  difference  between  the  two  forms,  see 
Ambros,  ii.  44-63).  Of  the  chants  attrib- 
uted to  him,  the  following  are  probably 
authentic  :  J3terne  rerum  couditor  ;  Dens 
creator  omnium  ;  Veui  redemptor  omnium 
Splendor  pateruiB  gloriie  ;  Confers  paterui 
luminis ;  O  lux  beata  trinitas.  The  ritual 
Te  Deum  has  been  ascribed  to  him,  but  is 
almost  certainly  of  much  later  date. — Ca- 
milla Perego,  Kegola  del  canto  Ambrosiauo 
(Milan,  1622) ;  Ambros,  ii.  14  ;  Grove,  i.  59. 
iME  EN  PEINE,  L'  (The  Soul  in  Tor- 
ment), opera  in  two  acts,  text  by  Saint- 
Georges,  music  bj'  Flotow,  first  represented 
at  the  Opera,  Paris,  June  29,  1846  ;  revived, 
Nov.  4,  1859.  The  beautiful  romance,  "Pen- 
dant la  nuit  j'ai  pare  ma  chaumiire,"  has 
been  transferred,  with  a  change  of  words,  to 
the  opera  of  Martha.  L'ame  en  jjeine  was 
produced  at  the  Princess's  Theatre,  Lon- 
don, Oct.  16,  1848,  as  Leoline.  An  Italian 
version,  entitled,  II  boscajuolo  (The  For- 
ester), was  given  at  the  Teatro  Scribe, 
Turin,  Nov.  30,  1872. 

AMERBACH  (Ammerbach),  ELIAS  NI- 
KOLAUS,  called,  born  in  Saxony  about  the 
middle  of  the  16th  century,  in  which  he  is 
reported  to  have  been  one  of  the  greatest 
contrapuntists.  He  travelled  extensively  to 
study  under  the  most  eminent  musicians 
of  the  time — probably  in  the  Netherlands, 
where  then  flourished  the  best  schools  of 
music — and  in  1570  became  organist  at  St. 
Thomas's,  Leipsic.  His  only  work  extant 
is :  Orgel-  und  Instruments-Tabulatur  (Leip- 
sic, 1571 ;  Nuremberg,  1583). — Fetis  ;  Men- 
del ;  Schilling. 

AMEYDEN,  CHRETIEN  VAN,  born  at 
Oirschot,  Brabant,  died  Nov.  20,  1605. 
Composer  of  the  Flemish  school,  contem- 
porary of  Orlando  Lasso.  He  went  to 
Rome,  was  a  singer  in  the  papal  chapel,  and 
a  friend  of  Palestrina.  His  madrigals  are 
published  in  Lattre's  3d  book  of  madrigals 
for  3  voices  (Venice,  1570). — Biogr.  nat.  de 
Belgique,  i.  261;  Mendel,  Ergiluz.,  11. 


AMI  DE  LA  MAISON,  L'  (The  Friend 
of  the  Famil}'),  opcru-comicjue  in  three  acts, 
text  by  Marmontel,  music  by  Gretry,  first 
represented  at  Fontaiuebleau,  Oct.  26, 1771, 
and  at  Paris,  bj'  the  king's  comedians, 
March  14,  1772.  Gretry  applied  in  this 
work  his  theorj'  of  the  intimate  relationship 
between  the  music  and  the  words,  as  is  well 
shown  in  the  two  airs:  "Je  suis  de  voua 
tres-mecontente,"  and  "  Rien  ne  plait  taut 
aux  yeux  des  belles  ; "  also  in  the  duet  in 
the  third  act :  "  Tout  ce  qu'il  vous  plaira  ; " 
and  in  the  little  duo:  "Vous  avez  divine 
cela." 

AmLIE  ;  OR,  THE  LOVE  TEST,  Eng- 
lish romantic  opera  in  three  acts,  text  by  J. 
T.  Haines,  music  by  William  Michael  Rooke, 
first  represented  at  Coveut  Garden,  Loudon, 
Dec.  2,  1837.  This  work,  which  was  writ- 
ten about  1826,  met  with  decided  success 
and  established  Rooke's  reputation  as  a 
composer.  It  was  given  in  New  York  at 
the  National  Theatre  in  1838,  by  the  Se- 
guin  combination,  twelve  consecutive  nights, 
before  crowded  houses. 

AMIS,  LA  MATINEE  EST  BELLE. 
See  Miieite  de  Portici. 

AMITIE  AU  VILLAGE,  L'  (Village 
Friendship),  opera-comique  in  three  acts, 
text  by  Desforges,  music  by  Franc/ois  Andre 
Philidor,  represented  at  the  Theatre  Italien, 
Paris,  Oct.  31,  1785.  ProsjJer  and  Vincent, 
rural  copies  of  Orestes  and  Pylades,  are 
rivals  in  love  and  for  the  prize  of  virtue  of- 
fered to  the  villagers  by  the  Seigneur  de 
Clemencey.  Prosper  absents  himself  to 
leave  the  field  free  to  his  friend,  whose  deli- 
cacy prompts  him  to  refuse  the  prize  won 
under  such  conditions.  In  the  end,  of 
course,  everj'thing  is  satisfactorily  arranged. 
The  oj)era  excited  so  lively  an  enthusiasm 
that  the  audience  called  for  the  composer, 
an  honour  then  almost  without  precedent. — 
Allen,  Life  of  Philidor,  87. 
AIULETO.  See  Hamlet. 
AMMETO.  See  AdmHo. 
AMIMON,  ANTON  BLASIUS,  born  at 
Imst,  Tyrol,  Jan.  2,  1572,  died  in  Munich, 


AMNER 


April  9,  161J:.  Church  composer,  one  of 
the  most  famous  contrapuntists  of  bis  time. 
He  was  for  several  years  Hof-Kajsellmeister 
at  Munich.  Works  :  Sacrse  cautiones,  for 
four,  five,  and  six  voices  (Munich,  1540)  ; 
Kurze  Motetteu  von  vier,  fiinf  und  sechs 
Stimmen,  auf  verschiedene  Heiligen-Fest- 
tage  gerichtet  (ib.,  ISS-i) ;  Liber  sacratissi- 
marum,  for  five  voices  (Vienna,  Creuzer, 
1582)  ;  Missse  quatuor  (ib.,  1588)  ;  Sacrse 
cantiones  (Munich,  Berg,  1590) ;  Patroci- 
uium  musices,  Missa;  (ib.,  1591)  ;  Missse 
quatuor,  for  four,  five,  and  six  voices  (ib., 
1593).— Allgem.  d.  Biogr.,  i.  404  ;  Fetis. 

AjMNER,  JOHN,  born  towards  the  end  of 
the  16th  century,  died  in  1641.  Organist 
and  choirmaster  at  Ely  Cathedral,  where 
he  succeeded  George  Barcroft  in  1610. 
Mus.  Bac,  Oxon.,  1613.  Works  :  Sacred 
Hymns  of  three,  four,  five,  and  six  parts,  for 
voices  and  vyols  (1615)  ;  Anthems,  etc. 

AMON,  JOHANN  ANDREAS,  born  at 
Bamberg  in  1763,  died  at  Wallerstein,  Ba- 
varia, March  29,  1825.  He  was  first  in- 
structed in  singing  by  the  court  singer 
Madame  Fracasini,  and  on  several  instru- 
ments by  Concertmeister  Biiuerle  ;  then  be- 
came the  pupil  of  the  famous  horn  virtuoso 
Giovanni  Puuto,  and  was  taken  by  him  to 
Paris,  where  he  studied  composition  under 
Sacchini  in  1781-82.  He  travelled  for  sev- 
eral years  with  Punto,  accompanying,  and 
leading  the  orchestra  in  his  concerts  ;  in 
1789  he  became  musical  director  at  Heil- 
bronn,  where  also  he  taught  the  violin  and 
pianoforte,  and  in  1817  was  made  Kapell- 
meister to  the  Prince  of  Oettingen-Waller- 
stein.  Of  his  compositions,  about  fift^'-two, 
consisting  of  symphonies,  concertos,  sona- 
tas, duets,  trios,  quartets,  quintets,  inarches, 
and  songs,  were  published  by  Simrock  in 
Bonn,  Schott  in  Mainz,  Andre  at  Ofifenbaeh, 
Hug  at  Zurich,  Bachmann  at  Hanover, 
Gombart  at  Augsburg,  Bossier  at  Speyer, 
Falter  in  Munich,  Pleyel  and  Janet  in  Paris, 
Castaud  at  Lyons  ;  among  those  left  in 
manuscript  are  twenty-seven  instrumental 
works,  German  songs,  and  a  German  Re- 


quiem. He  wrote  also  two  masses,  besides 
smaller  chui'ch  compositions,  cantatas,  and 
two  operettas,  of  which  one,  Der  Sultan 
Wampum,  was  performed  with  little  success 
in  1791. — Allgem.  mus.  Zeitg.,  xxvii.  366  ; 
Fetis  ;  Schilling. 

AMORE  CONJUGALE,  L'.    See  Leo7iora. 

AMORE  TRADITORE,  cantata  for  a 
bass  voice,  with  pianoforte  accompaniment, 
by  Johann  Sebastian  Bach.  Published  by 
the  Bach-Gesellschaft,  1861. 

AMORITA.     See  PfingMen  in  Florenz. 

AMOUR  SACRE  DE  LA  PATRIE.  See 
Muetle  de  Portici. 

AINIOUR,  VIENS  FINIR.  See  Domino 
noir. 

AMOUROUX,  CHARLES,  French  com- 
poser, contemporary.  Organist  of  the  ca- 
thedral at  Bordeaux.  He  played  the  music 
of  his  opera.  La  Eeine  d'Ellore,  or  Reine 
et  bergure,  at  a  private  concert  in  Bordeaux 
in  1865,  and  brought  out  II  a  ete  perdu  un 
Roi,  opera  comique,  at  the  Gj-mnase,  Paris, 
in  1867.  He  received  honourable  mention 
from  the  Saint  Cecilia  Society  of  Bordeaux 
for  his  Atteude,  Domine,  a  choral  for  solos, 
chorus,  and  orchestra,  given  at  the  Bor- 
deaux Cathedral  in  1873. — Fetis,  Supple- 
ment, i.  14. 

AMPHION  ANGLICUS.  See  Bloto, 
John. 

AaffHITRYON,  opera  in  three  acts, 
text  by  Sedaine,  music  by  Gretry,  repre- 
sented at  the  Academic  Royale  de  Musique, 
Paris,  July  15, 1788,  without  success.  Am- 
phitryon, comedy  by  Dryden,  music  (over- 
ture, act^tunes,  and  songs)  by  Henry  Pur- 
cell,  London,  1690  ;  Anfitrione,  Italian 
opera,  music  by  Gasparini,  Rome,  1707  ; 
Amphitryfie,  Portuguese  opera,  by  Jose  da 
Silva,  Lisbon,  1736  ;  Amphitryon,  Swedish 
opera,  by  J.  M.  Kraus,  Stockholm,  1792  ; 
opera-comique  in  one  act,  scene  laid  in 
Spain,  text  by  Nuitter  and  Beaumont,  mu- 
sic by  Lacome,  Theatre  Taitbout,  Paris, 
April  5,  1875. 

AMTMANN,  PROSPER,  born  in  Aus- 
tria, early  part  of  the  nineteenth  centuij. 


46 


ANACKER 


Flutist ;  appeared  successfully  in  concerts  in 
Vienna,  183G,  and  Munich,  1839.  Works  : 
Grand  duo  concertant  for  two  flutes,  op.  1 
(Vienna,  Diabelli) ;  Marclie  nationale  lion- 
groise  for  flute  and  pianoforte,  op.  2  (ib., 
Haslinger)  ;  Air  varie  for  do.,  op.  3  (ib., 
Mechetti)  ;  3  grand  duos  for  flutes  (Milan, 
Ricordi) ;  2  allemaudes  for  flute  and  piano- 
forte, op.  8  (Vienna,  Diabelli)  ;  Introduction 
and  variations  for  do.,  op.  9  (ib.,  Hasling- 
er) ;  Exercises  in  all  kej's,  for  flute,  op.  10 
(ib.).— Fetis. 

ANACKER,  AUGUST  FERDINAND, 
born  at  Freiberg,  Saxony,  Oct.  17,  1790, 
died  there,  Aug.  21,  1854.  Dramatic  com- 
poser, self  taught  in  his  native  city  and  in 
Leipsic,  where  he  frequented  the  university. 
In  1822  he  became  cantor  and  musical  di- 
rector at  Freibei-g,  where  he  soon  created 
a  musical  atmosphere,  organizing  regu- 
lar performances  of  church  music,  and  in 
1828  a  singing  academy,  which  from  1830 
gave  annual  subscription  concerts  with 
carefully  selected  programmes.  Works  : 
Der  Bergraannsgruss,  cantata  (Leipsic,  Hof- 
meister) ;  Lebens  Blume  und  Lebens  Un- 
bestand,  do.  (Dresden,  Paul)  ;  Markgraf 
Friedrich  oder  Bergmannstreue,  musical 
drama,  giveu  in  Dresden,  1836  ;  Overture 
to  Gotz  vou  Berlichingeu  ;  Pianoforte 
pieces  ;  Duets  ;  Sacred  and  secular  songs. 
— Fetis  ;  Mendel ;  Schilling. 

ANACREON  ;  or,  L'Amour  fugitif,  op- 
era-ballet iu  two  acts,  text  by  Mendouze, 
music  by  Cherubiui,  represented  at  the 
Opera,  Paris,  Oct.  5,  1803.  It  is  now 
known  only  by  its  flue  overture,  and  by  a 
charming  aii-,  "  Jeunes  filles,  aux  yeux 
doux,"  which  is  still  sung.  Other  works 
with  a  similar  title  are :  Anacreon,  ballet 
h^roique  in  one  act,  text  by  Geutil-Bernard, 
music  by  Rameau,  represented  at  the  Aca- 
demie  Royale  de  Musique,  Paris,  May  31, 
1757  ;  music  by  Raymont,  theatre  of  Beau- 
jolais,  about  1765  ;  Anakreon,  music  by 
Hoszisky,  theatre  of  Rheinsberg,  about 
1791  ;  Anacreon,  text  by  Gentil-Bernard, 
music  by  Beaulieu,  written  about  1819,  not 


represented  ;  Anakreou  in  lonien  (Anacreon 
iu  Ionia),  music  by  Ebell,  Breslau,  1810 ; 
Anacreon  chez  Polycrate  (Anacreon  at  the 
house  of  Polycrates),  text  by  J.  H.  Grey, 
music  by  Gretry,  Paris,  Jan.  17,  1797,  Anac- 
reonte  in  Samo  (Anacreon  in  Samos),  music 
by  Mercadante,  San  Carlo,  Naples,  1820  ; 
Anacreonte  tiranno,  music  by  Sartorio,  Ven- 
ice, 1678. 

ANCESSY,  JOSEPH  JACQUES  AU- 
GUSTIN,  born  iu  Paris,  April  25,  1800, 
died  there,  Jan.  2,  1871.  Dramatic  com- 
poser, chef  d'orchestre  at  the  Odeon,  and 
afterwards  at  the  Theatre  Fran9ais.  Works 
— Operettas  :  Estelle  et  Nemorin,  Jean  et 
Jeanne,  Un  troc,  given  at  the  Theatre  des 
Folies  Nouvelles,  1855-59  ;  Sis  sonatas  for 
violin  (Paris,  Meissonnier). — Fetis,  Supple- 
ment, i.  15. 

ANCOT,  JEAN,  the  elder,  born  at 
Bruges,  Oct.  22,  1779,  died  there,  July  12, 
1848.  Church  music  and  instrumental 
composer,  pupil  in  Paris  of  Kreutzer  and 
Baillot  on  the  violin,  and  of  Catel  in  har- 
mony ;  returned  to  Bruges  in  1804  and 
taught  the  violin  and  pianoforte.  Works  : 
4  concertos  for  violin  with  orchestra  ;  3 
quartets  for  two  violins,  viola,  and  bass  ;  2 
masses  for  three  voices,  with  organ  ;  Ecce 
panis  for  four  voices  and  orchestra  ;  2  O 
salutaris  for  three  voices,  with  organ  obli- 
gate ;  6  Tantum  ergo  for  three  and  four 
voices  and  organ  obligate  ;  4  Ave  Marias 
for  four  voices  ;  Divertissements,  overtures, 
fantaisies,  marches,  etc.,  for  fifteen  instru- 
ments.— Biogr.  uat.  de  Belgique,  i.  270  ; 
Fetis;  Mendel. 

ANCOT,  JEAN,  the  younger,  born  at 
Bruges,  July  6,  1799,  died  at  Boulogne, 
June  5,  1829.  Instrumental  and  vocal 
composer,  son  of  the  preceding,  who  in- 
structed him  on  the  violin  and  pianoforte, 
then  pupil,  at  the  Paris  Conservatoire,  of 
Pradher  on  the  pianoforte,  and  of  Berton 
in  composition.  He  went,  in  1823,  to  Lon- 
don, became  professor  at  the  Athenseum, 
and  pianist  to  the  Duchess  of  Kent,  but 
returned  in  1823,  and,  after  concert  tours 


47 


anda>;te 


in  Belgium,  settled  at  Boulogne.  Works  • 
Concerto  for  violin  (Pai'is,  Jouve) ;  do.  for 
pianoforte  (ib.,  Leduc)  ;  3  Sonatas  for  do., 
op.  4,  10,  18  ;  Several  fautaisies  for  do., 
with  orchestra ;  La  tempete,  fantaisie  for 
do.  (London)  ;  L'Ouragan,  do.  (Paris,  Na- 
derman)  ;  Nocturne  for  pianoforte  and  vio- 
lin, op.  8  (ib.,  Petit)  ;  2  aubades  for  do., 
op.  32,  35  (ib.,  Dufant  et  Dubois)  ;  Grand 
Sonata  for  do.,  op.  14  (ib..  Petit)  ;  8  fan- 
taisies  for  pianoforte  for  four  hands  (Paris 
and  London)  ;  5  concertos  for  violin,  with 
orchestra  ;  12  fugues  for  organ  ;  Amelia,  ou 
le  depart  pour  la  guerre,  scena  with  orches- 
tra ;  Marie  Stuart,  do.  ;  La  resolution  inu- 
tile, do.  ;  La  philosophie  d'Anacreon,  do.  ; 
6  overtures  for  grand  orchestra  ;  Grande 
piece  de  concert  ;  Several  collections  of 
romances  (Paris  and  London).  His  brother 
Louis  (born  at  Bruges,  June  3,  1803,  died 
there  in  September,  1836),  after  having  trav- 
elled as  a  pianist  in  France,  Italj',  the  Neth- 
erlands, and  England,  settled  at  Boulogne 
to  teach  his  instrument,  then  lived  for  some 
years  at  Tours,  and  finally  in  his  native  city. 
He  composed  music  for  pianoforte,  over- 
tures, and  concertos  with  grand  orchestra, 
and  romances  and  nocturnes  for  one  and 
two  voices. — Biogr.  nat.  de  Belgique,  i.  271 ; 
Fetis  ;  Mendel. 

ANDANTE  FAVORI  IN  F,  for  piano- 
forte, by  Beethoven,  composed  in  1804. 
It  was  intended  originally  for  the  slow 
movement  of  the  sonata  in  C,  op.  53,  but 
afterwards  discarded  and  published  sepa- 
rately, without  opus  number,  in  1806. 

AN  DAS  VATERLAND,  symphony  No. 
1,  for  full  orchestra,  by  Raff,  op.  96,  com- 
jjosed  1863. 

AN  DEM  STRANDE  DER  GARONNE. 
See  Oberon. 

ANDERL,  JOHANN  (?),  born  in  Bavaria 
about  1787,  died  at  Jamuitz,  Moravia,  Aug. 
19,  1865.  Church  composer,  lived  for  some 
time  at  Augsburg.  Works  :  Asperges,  for 
four  voices  and  organ  (.\ugsburg,  B<'ihm)  ; 
Christ  on  the  Mount  of  Olives,  three  songs 
for  two  sof)ranos,  bass,  and  organ  (Munich, 


Falter)  ;  Processional  hymn  for  do.  (Augs- 
burg, Bohm)  ;  Lauda  Sion,  for  three  voices 
and  organ  (ib.)  ;  Pange  lingua,  for  do.  (ib.) ; 
Canticle  for  Advent,  for  two  voices,  two  vio- 
lins, and  organ  (Munich,  Falter)  ;  Nativity, 
for  two  voices  and  organ  (ib.) ;  Canticles  for 
other  festivals,  etc.  (ib.)  ;  Missa  brevis,  for 
soprano,  contralto,  bass,  two  violins,  double- 
bass,  and  organ  (ib.). — Fetis  ;  do..  Supple- 
ment, i.  15. 

ANDERS,  HEINRICH,  born  in  Germany 
between  1660  and  1670,  died  at  Amsterdam 
between  1720  and  1730.  Organist,  settled 
at  Amsterdam  about  1696.  Works  :  Trios, 
.Allemandes,  Sarabandes,  Gigues,  etc.  (Am- 
sterdam, 1G96)  ;  Apollo  en  Daphne  (ib., 
1697) ;  Min  en  Wijnstrijdt,  herderspel  met 
muzick  (ib.,  1719)  ;  Symphonipe  introduc- 
toriffi  triuin  et  quatuor  instrumentornm, 
consisting  of  twenty-four  sonatas. 

ANDERTON,  THOMAS,  born  at  Bir- 
mingham, England, 
April  15,  1836,  still 
living,  1888.  Ama- 
teur composer ;  edi- 
tor of  the  Midland 
Counties  Herald,  Bir- 
mingham. Works  : 
Song  of  Deborah  and 
Barak,  cantata,  1871 ; 
John  Gilpin,  do. ; 
Three  Jovial  Huntsmen,  do.,  1881  ;  Wreck 
of  the  Hesperus,  do  ,  1882  ;  Norman  Baron, 
do  ,  1884  ;  Yuletide,  do.,  1885  ;  Gentle  Ger- 
trude, operetta,  Liverpool,  1881 ;  Chiltern 
Hundreds,  do.,  ib.,  1882  ;  Artoxominous  ye 
Great,  do.  ;  Symphony  for  orchestra  ;  Quar- 
tet for  strings,  in  F  (1884) ;  Overtui-es,  and 
an  oratorio  ;  Songs,  and  part-songs  ;  Piano- 
forte music. 

AN  DIE  FERNE  GELIEBTE,  lie- 
derkreis,  for  one  voice  and  pianoforte, 
text  by  Jeitteles,  music  by  Beethoven,  op. 
98,  dedicated  to  Prince  Lobkowitz  ;  com- 
posed in  Vienna,  April,  1816.  The  first 
cycle  of  songs  ever  set  to  music,  and  to 
tiiis  day  unsurpassed.  Each  of  the  six 
poems  has  its  own  melody,  expressing  the 


48 


ANDRfi 


fundamental  mood,  and  thus  every  song 
forms  an  independent  whole.  No.  1  in  E- 
llat,  5  verses  ;  No.  2  in  G,  3  verses  ;  No.  3 
in  A-flat,  5  verses  ;  Nos.  4  and  5  in  do.,  3 
verses  each  ;  No.  6  in  C,  leading  back  into 
E-flat.  Every  song  is  strikingly  character- 
istic in  key,  melody,  and  rliythm.  (Vienna, 
Stein er.)— Marx  (Berlin,  1875),  ii.  159. 

ANDRE,  JOHANN,  born  at  Offenbach, 
Hesse,  March  28,  1741,  died  there,  June  18, 
1799.  Dramatic  composer.  His  father,  a 
eilk  manufacturer,  intended  him  for  the 
same  business,  but  his  love  of  music  was  too 
strong.  He  received  lessons  on  the  violin 
from  a  friend  studying  at  Frankfort,  and 
mastered  the  harjisichord  without  a  teaclier. 
He  soon  began  comj)osing,  writing  at  first 
only  fugitive  pieces,  but  on  visiting  Frank- 
fort in  1760  he  heard  operas,  and  tliis  gave 
a  new  impulse  to  his  taste.  After  the  pro- 
duction of  his  first  comic  opera,  Der  Top- 
fer,  Goethe  confided  to  him  his  operetta, 
Erwiu  und  Elmire,  which  was  given  in  1764 
with  great  success,  and  afterwards  in  Berlin 
twentj'-two  times  in  1782.  In  1774  he  es- 
tablished at  Offenbacli  a  printing  office  for 
music,  and  in  1777  became  musical  director 
of  the  Dcjbbelin  Theatre  in  Berlin,  where 
two  of  his  operas  had  been  given  with  suc- 
cess in  1775  ;  while  there,  he  formed  a 
friendship  with  and  was  much  influenced 
by  Marjjurg,  and  composed  many  dramatic 
pieces.  Unable  to  carry  out  a  plan  for 
transferring  his  printing  office  to  Berlin,  he 
returned  to  Offenbach  in  1784,  with  the  title 
of  Kapellmeister,  conferred  on  him  by  the 
Margrave  of  Brandenburg-Schwedt,  and  to 
the  end  of  his  active  life  devoted  himself  to 
comjiosition,  and  his  publications  ;  from  this 
press  issued  twelve  hundred  works  before 
his  death.  Of  his  operas,  one,  with  libretto 
by  Bretzner,  Belmonte  und  Constanze,  oder 
die  Entfiirhruug  aus  dem  Serail,  given  in 
Berlin,  May  26,  1781,  became  especially  con- 
spicuous from  Mozart's  setting  of  the  same 
with  his  own  music,  with  alterations  in  the 
text  by  Stephanie,  July  12, 1782,  which  led  to 
a  quarrel  between  the  two  librettists.    Works 


— Operas  :  Der  alte  Freier,  given  in  Berlin, 
DObbelin  Theatre,  1775  ;  Die  Bezauberten, 
ib.,  1777  ;  Der  Alchymist,  ib.,  1778  ;  Das 
tartarische  Gesetz,  ib.,  1779  ;  Das  wiithende 
Heer,  Kurze  Thorheit  ist  die  beste,  ib., 
1780  ;  Herzog  Michel,  Der  Fiirst  im  hOch- 
sten  Glanze,  Die  Schadenfreude,  Das  Auto- 
mat, ib.,  about  1780  ;  Eins  wird  doch  helfen, 
ib.,  1782  ;  Der  Barbier  von  Bagdad,  ib., 
1783  ;  Peter  imd  Hannchen  ;  Laura  Rosetti ; 
Claudina  von  Villa  Bella  ;  Die  Friedens- 
feier  ;  Prolog  der  Grazien  ;  Azakia.  Other 
works  :  Harlekin  Friseur,  pantomime  ;  Mu- 
sic to  Macbeth,  King  Lear,  and  some  Ger- 
man plays  ;  Three  sonatas  for  pianoforte, 
violin,  and  violoncello,  op.  1  (Offenbach, 
1786) ;  Songs  with  accompaniment  of  flute, 
or  violin,  viola,  and  bass,  3  parts  (ib.,  1793) ; 
Lenore  (by  Biirger),  romance  for  piano- 
forte (ib.,  5  editions)  ;  Die  Weiber  von 
Weinsberg,  for  pianoforte  (ib.,  1802) ;  Ari- 
ettas, duets,  and  many  songs,  of  which 
"  Bekriinzt  mit  Laub  den  lieben  vollen 
Becher,"  is  still  jjopular. — Allgem.  d.  Biogr., 
i.  434  ;  Allgem.  mus.  Zeitg.,  xvi.  869  ;  Petis ; 
Gerber,  Hist.  Lex.  ;  Mendel  ;  Schilling  ; 
Schneider,  Berliner  Oper,  207. 

ANDRfi,  JOHANN  ANTON,  born  at  Of- 
fenbach,  Oct.  6, 
1775,  died  there, 
April  8, 1842.  Dra- 
matic composer, 
violinist,  and  pia- 
nist ;  son  of,  and 
first  instructed  in 
Berlin  by,  Johann 
Andre,  pupil  in 
singing  of  the  ten- 
or, Marschhiiuser, 
then  on  the  violin,  at  Offenbach,  of  Ferdi- 
nand Friinzl,  1787,  at  Mannheim  of  Franz 
Friinzl,  1789,  and  in  composition  of  Voll- 
weiler,  1792.  Having  frequented  the  Uni- 
versitj'  of  Jena  in  1796,  he  made  two  ex- 
tended musical  tours  through  Germany  in 
1798-99,  and  on  his  father's  death  suc- 
ceeded to  the  publishing  business  at  Offen- 
bach, which  he  raised  to  a  very  flourishing 


ANDRE 


couditiou,  especially  through  his  alliance 
■with  Sennefelder,  inventor  of  lithography, 
and  through  the  acquisition  of  Mozart's 
musical  bequest,  which  he  had  secured 
from  the  composer's  widow  in  Vienna.  He 
published  (1805  and  1828)  a  thematic  cat- 
alogue of  Mozart's  works,  made  from  the 
master's  own  careful  records  (from  Feb.  9, 
1784,  to  Nov.  15,  1791),  and  another  the- 
matic list  (1841)  of  the  composer's  manu- 
scripts, which  had  come  into  his  possession. 
In  1800  he  visited  England.  He  cultivated 
every  branch  of  composition,  and  as  earlj- 
as  1801  his  works  numbered  seventy-five  ; 
they  are  now  all  foi-gotten,  for,  though  skil- 
ful in  structure  and  pleasing,  they  lacked 
original  invention,  and  were  conventional, 
in  the  manner  of  the  feebler  imitators  of 
Mozart.  Much  esteemed  as  a  teacher,  he 
also  wrote  a  treatise  on  harmony*  and 
counterpoint,  Lehrbuch  der  Tonsetzkunst, 
planned  to  comprise  six  volumes,  of  which 
only  two  were  finished  (1832-35  and  1838- 
43),  forming,  however,  a  comj)lete  whole, 
and  an  important  part  of  the  theoretical 
literature  of  nmsic.  His  violin-method  : 
Anleitung  zum  Violinsjjielen,  holds  an  hon- 
ourable place  among  its  kind.  Works :  Die 
Weiber  von  Weiusberg,  opera  (1792)  ;  Ei- 
naldo  und  Alcina,  do.,  given  at  Dresden, 
1799  ;  Der  Friede  Tuiscons,  cantata  (Oft'en- 
bach,  1797) ;  3  sonatas  for  pianoforte,  with 
violin  obligato,  op.  2  (1790) ;  Symphonies, 
op.  4,  5,  6,  7  (1795) ;  Concerto  for  oboe,  op. 
8  (1796);  Concerto  for  flute,  op.  3  (1793); 
do.,  op.  10  (179G) ;  Sonata  for  four  hands, 
op.  12  (1800) ;  Spriehwi'irter  (proverbs)  for 
four  voices  and  pianoforte,  op.  32  (1807) ; 
besides  many  other  specimens  of  church  and 
chamber  music,  and  collections  of  songs. 
— Allgem.  d.  Biogr.,  i.  435,  Allgem.  mus. 
Zeitg.,  ix.  799;  xxxviii.  18;  Futis  ;  Gerber, 
N.  Lex.;  Mendel ;  N.  Necrol.  der  D.  (1842), 
284;  Schilling. 

ANDRfc,  (PETER  FEIEDRICH)  JU- 
LIUS, born  at  Frankfort,  June  4,  1808, 
died  there,  April  17,  1880.  Organist  and 
pianist,  son  of  Johann  Anton  Andre,  pupil 


of  Aloj's  Schmitt.  Works :  3  polonaises  for 
four  hands  for  pianoforte,  op.  7  (Offenbach, 
Andre)  ;  Sonatiue  for  do.,  op.  17  (ib.) ;  Me- 
langes pour  piano,  op.  13,  18  (ib.) ;  Valses 
brillantes  (ib.) ;  Nocturnes  and  Rondos  (ib.) ; 
12  jjieces  for  the  organ,  op.  9  (ib.) ;  Twelve 
do.,  op.  26  (ib.) ;  Method  for  the  organ  (ib.) ; 
Songs  with  jjianoforte  (ib.). — Fetis  ;  Men- 
del. 

ANDREASFEST,  DAS,  romantic  opera 
in  three  acts,  text  by  Roderich  Fels,  music 
by  Karl  Grammann,  represented  in  Dres- 
den, Nov.  30,  1882.  It  was  warmly  re- 
ceived. 

ANDREOZZI,  GAETANO,  born  in  Na- 
ples in  1763,  died  in  Paris  in  December, 
1826.  Dramatic  composer,  pupil  of  the 
Conservatorio,  Naples,  under  his  kinsman 
Jommelli ;  he  composed  his  first  opera  when 
only  sixteen.  He  was  maestro  of  the  roj'al 
chapel  at  Naples,  and  travelled  a  great 
deal  in  Italy,  where  he  brought  out  a  num- 
ber of  operas.  His  reputation  extended 
to  Russia,  and  he  was  invited  to  St.  Peters- 
burg in  1784,  returned  to  Italy  in  1786, 
and  again  visited  the  most  important  cit- 
ies ;  in  1790  he  became  conductor  of  the 
orchestra  at  the  opera  in  Naples,  but  in 
the  year  following  was  in  the  same  capac- 
ity in  Madrid.  Not  long  after  his  return, 
via  Paris,  to  Italy,  he  ceased  to  write  for 
the  stage,  and  devoted  himself  to  teach- 
ing, counting  among  his  pupils  the  royal 
princesses,  notably  the  Duchesse  de  Berri, 
who  afterwards  befriended  him  in  Paris, 
whither,  much  reduced  in  fortune,  be  had 
rej)aired  in  1825.  His  aria,  "Ah,  quest' 
anima  non  speri,"  is  still  celebrated  in  Italy. 
Works — Operas  :  La  morte  di  Cesare,  given 
in  Rome,  Teatro  Argentina,  1779  ;  Bajazette, 
Florence,  Teatro  Ducale,  1780 ;  Olimpiade, 
Leghorn,  1780 ;  Agesilao,  Venice,  Teatro  S. 
Benedetto,  1781 ;  Teodolinda,  Turin,  1781 ; 
Catone  in  Utica,  Milan,  1782 ;  II  trionfo 
d'Arsace,  Rome,  1782  ;  La  vergine  del  sole, 
Genoa,  1783  ;  Angelica  e  Medoro,  Venice, 
1783;  Dido,  Giasone  e  Medea,  both  in  St. 
Petersburg,  1784;  Virginia,   Rome,  Teatro 


50 


ANDREVl 


Ai-geutiua,  1787 ;  Sofrouia  e  Olindo,  Sesos- 
tri,  Naples,  Teati-o  Sau  Carlo,  ITS!) ;  11  fiuto 
cieco,  La  principessa  filosofa,  ib.,  Teatio 
Nuovo,  1790 ;  Gustavo,  iv  di  Svezia,  Ma- 
drid, 1791 ;  Giovauua  d'  Arco,  Yeuice,  1793  ; 
Ai-sinoe,  Naples,  Teatro  Sau  Carlo,  1795 ; 
Armida  e  Rinaldo,  ib.,  1802 ;  Piramo  e 
Tisbe,  II  trioufo  d'  Alessaudro,  ib.,  1803. 
Other  works :  Six  quartets  for  2  violins, 
viola,  and  violoncello  (Florence,  1786) ; 
Saule,  oratorio,  given  at  Naples,  1790 ;  La 
passione  di  Gesti  Cristo,  do  ,  ib.,  1792. — 
Fotis  ;  Mendel ;  Schilling. 

ANDREVI,  FRANCISCO,  born  at  Sana- 
buya  (Catalonia),  Spain,  Nov.  16,  1786,  died 
at  Barcelona,  Nov.  23,  1853.  He  was  a 
priest  and  maestro  de  capilla  successively 
at  the  cathedrals  of  Segorbe,  Barcelona, 
Valencia,  Seville,  and  finally  of  the  royal 
chapel.  During  the  Carlist  War  he  took 
refuge  at  Bordeaux,  where  he  found  em- 
ployment, lived  in  Paris  in  1845-49,  and 
after  his  return  to  Spain  became  maestro  de 
capilla  at  the  Church  of  Our  Lady  at  Bar- 
celona. His  most  iiujwrtant  works  are : 
The  Last  Judgment,  oratorio  ;  Requiem  for 
Ferdinand  VH. ;  Stabat  mater. — Fctis ;  do., 
Supplement,  i.  15  ;  Riemaun. 

ANDRIES,  JEAN,  born  at  Ghent,  April 
25,  1798,  died  there,  Jan.  21,  1872.  Viohu- 
ist  and  violoncellist,  became  professor  at 
the  Conservatoire,  Ghent,  in  1835,  and  its 
director  in  1851.  His  comj)ositious  remain 
unpublished.  As  a  writer  he  is  known  by  : 
Apergu  historique  de  tons  les  instruments 
de  musique  (Ghent) ;  and  Precis  de  I'his- 
toire  de  la  musique  depuis  les  temjDs  les 
plus  recules  (ib.,  Busscher,  1862).— Futis, 
Supplement,  i.  16 ;  Mendel,  Ergiinz.,  12  ; 
Viotta. 

ANDROMAQUE,  French  lyric  tragedy 
in  three  acts,  text  by  Pitra,  music  by  Grc- 
try,  represented  at  the  Academic  Royale  de 
Musique,  Paris,  June  6,  1780.  Tliis  opera, 
which  was  given  twenty-five  times,  was 
written  in  thirty  days.  Mile  Levasseur, 
and  afterwards  Mile  Laguerre,  filled  the 
role  of  Andromaque,  and   Larivee   that  of 


Oreste.  Andromacca,  Italian  opera,  text 
by  Zeno,  music  by  Caldara,  Vienna,  1724  ; 
music  by  Bioni,  Breslau,  1729 ;  by  Fran- 
cesco Feo,  Rome,  1730  ;  by  Davide  Perez, 
Vienna,  1752  ;  by  Sacchini,  Florence,  1763  ; 
by  Tozzi,  Brunswick,  1765  ;  by  Bertoni, 
Venice,  1772  ;  by  Nasolini,  London,  1700  ;  by 
Paisiello,  Naples,  1798  ;  by  Puccita,  Lisbon, 
about  1806 ;  by  Rainiondi,  Palermo,  about 
1815  ;  by  Pavesi,  Milan,  1822  ;  by  EUerton, 
Prussia,  about  1830. 

ANDROMEDA,  daughter  of  Cepheus, 
King  of  Ethioi^ia,  who  was  delivered  by 
Perseus  from  the  sea-monster,  for  whom 
her  father  had  been  forced  to  chain  her  to 
a  rock  beside  the  sea,  has  been  the  subject 
of  many  operas  :  Andromeda,  Italian  opera, 
music  by  Girolamo  Giacobbi,  rejiresented 
at  Bologna,  1610,  and  revived  in  1628  ; 
Italian  opera,  text  by  Benedetto  Ferrari, 
music  by  Frauce.sco  Manelli  da  Tivoli,  given 
at  the  Teatro  di  San  Cassiano,  Venice,  1637, 
the  first  oj^era  ever  represented  in  public 
in  that  city  ;  music  by  Leo,  Teatro  di  San 
Carlo,  Naples,  1742  ;  by  Paisiello,  Milan, 
about  1770;  by  Ignazio  Fiorillo,  Ca.sse], 
1771  ;  by  Reichardt,  Italian  opera  in  three 
acts,  Berlin,  178S  ;  by  Persicchini,  Warsaw, 
about  1782  ;  by  Trento,  two  acts,  Rome, 
about  1792,  and  Naples,  1805  ;  Naumann, 
ojjera  seria,  Dresden,  1792  ;  German  op- 
era, by  Baumgarten,  1776  ;  Polish  opera,  by 
Eisner,  Warsaw,  1807  ;  Andromeda  e  Per- 
seo  (Andromeda  and  Perseus),  by  Michael 
Haydn,  Salzburg,  about  1780  ;  by  Mare- 
scalchi,  Rome,  1784 ;  .\ndromeda  und  Per- 
seus, German  ojsera,  by  Jean  Wolfgang 
Franck,  Hamburg,  1679  ;  Singspiel,  by 
Zimmermann,  Vienna,  1781.     See  Perseus. 

ANELLI,  ANGELO,  Italian  dramatic 
composer  of  the  18th  century.  He  is 
known  by  the  ojjere  buffe :  I  due  sup- 
posti  conti,  given  at  Verona,  1786  ;  La 
statua  matematica,  Bologna,  1788. — Fetis  ; 
Schilling. 

ANERIO,  FELICE,  born  in  Rome  about 
1560  (Ambros,  1551),  died  (?).  He  studied 
under    Giovanni    Maria    Nanini,    and    was 


61 


ANERIO 


appointed  by  Clement  VIII.  Palestrina's  suc- 
cessor as  composer  to  the  Pontifical  Choir, 
in  which  he  was  in- 
stalled, April  3,  1594. 
As  a  composer,  Anerio 
is  among  the  best  of 
the  "  great  "  Roman 
period,  and  a  worthy 
successor  to  Palestri- 
na.  His  great  Adora- 
mus  te,  Christe,  has 
been  long  wrongly  at- 
tributed to  Palestriua, 
and  it  is  very  possible  that  the  famous 
Stabat  Mater  for  three  choruses,  in  the 
Altsemps  collection,  is  by  him,  and  not  by 
Palestrina,  as  Baini  asserts.  Published 
works  :  Three  books  of  sacred  madrigals  for 
4  voices,  Eome,  Gardane,  1585  ;  Two  books 
of  sacred  concertos  for  4  voices,  Rome,  Co- 
attino,  1593  ;  First  book  of  Hymns,  Canti- 
cles, and  Motets  for  8  voices  (dedicated  to 
Clement  VIH.),  Venice,  Vincenti,  1596  ; 
Second  book  of  Hymns  and  Motets  for  5, 
6,  and  8  voices,  Rome,  Zanetti,  1602 ;  First 
book  of  Madrigals  for  6  voices,  Venice, 
Amadino,  1590,  Antwerp,  1599  ;  Second 
book  of  do.,  Rome,  Zanetti,  1602  ;  Respon- 
sorj  per  la  settimana  santa,  a  tre  e  quattro 
voci,  Rome,  Zanetti,  1603  ;  Canzouette  a  tre, 
quattro  voci,  Madrigali  spirituali  a  tre,  quat- 
tro voci,  ib.,  1603.  Some  Cauzoni  a  quattro 
voci  were  published  at  Frankfort-on-the- 
Main  in  1610.  Other  works  are  in  the  three 
collections  of  motets  and  psalms  ijublished 
by  Fabio  Constantini  in  Eome,  1615,  and 
Naples,  1616  and  1617,  and  in  the  Sonnetti 
nuovi  of  Fabio  Petrozzi,  Rome,  1609.  A 
number  of  unjjublished  works  are  in  MS.  in 
the  archives  of  Sta.  Maria  in  Vallicella,  the 
Vatican  Basilica,  the  library  of  the  Pontifical 
Choir,  the  archives  of  the  Chiesa  Nuova,  the 
CoUegio  Germanico,  and  the  library  of  the 
Abbate  Santini. — Ambros,  iv.  73  ;  Grove,  i. 
G7. 

ANERIO,  (GIOVANNI)  FRANCESCO, 
born  in  Rome  about  1567,  died  ('?).  A 
younger  brother  of  Felice  Anerio.     He  was 


at  first  maestro  di  cappella  to  Sigismund 
lU.  of  Poland,  and  afterwards  at  the  cathe- 
dral at  Verona,  whence  he  was  called  to  the 
post  of  music  teacher  to  the  Seminario 
Romano,  Rome,  and  became  later  maestro 
di  cai^pelln  at  the  Church  of  la  Madonna  de' 
Monti,  in  1600  ;  finally,  he  was  appointed 
to  a  similar  position  at  the  Lateran  Basilica, 
where  he  remained  until  1613,  after  which 
all  traces  of  him  have  been  lost.  Although 
many  of  his  works  are  in  the  pure  a  cap- 
pella style,  Francesco  Anerio  belongs  strict- 
ly to  a  later  period  than  his  brother.  Some 
of  his  works,  notably  his  six-voice  Conver- 
sione  di  S.  Paolo,  have  obligato  instrumen- 
tal parts,  and  in  his  madrigals  the  harmony 
and  modulations  belong  no  longer  to  the 
Gregorian  modal  system,  but  distinctly  to 
modern  tonality.  He  was  one  of  the  first 
Italians  who  used  the  eighth-note  and  six- 
teenth-note in  writing.  Published  works  : 
n  libro  primo  de'  motetti  a  una,  due  e  tre 
voci,  Rome,  Robletti,  1609  ;  II  libro  secondo 
de'  motetti,  con  le  letanie  e  le  quattro  an- 
tifone  maggiori  dojDo  il  vespero,  a  sette  e 
otto  voci,  Rome,  1611  ;  II  libro  terzo  con  le 
letanie  a  quattro  voci,  Rome,  1613  ;  II  libro 
quarto,  etc.,  ib.,  1617 ;  II  libro  quinto, 
etc.,  ib.,  1618 ;  Sacri  conceutus  quatuor, 
quinque,  sex  vocibus,  una  cum  basso  ad 
organum,  ib.,  1619  ;  Selva  armonica  dove 
si  conteugon  motetti,  madrigali,  canzonette, 
dialoghi,  arie  a  una,  doi  [sic],  tre  e  quattro 
voci  con  basso  per  organo,  ib.,  1617 ; 
Ghirlanda  di  sacre  rose,  motetti  a  cinque 
voci,  Rome,  Soldi,  1613  ;  Diporti  musicali, 
madrigali  a  una,  due,  tre,  quattro  voci, 
Rome,  1617  ;  Autifone  e  sacri  concerti  per 
una,  due,  tre  voci,  Rome,  Robletti,  1613  ; 
Libro  di  responsorj  per  il  Natale,  a  tre, 
quattro,  otto  voci,  ib.,  1619;  Libro  delle 
letanie,  Eome,  Marsotti,  1626  ;  Messa  de' 
morti,  Rome,  1620  ;  Libro  de'  salmi  a  tre, 
quattro  voci,  Rome,  Robletti,  1620  ;  II  libro 
primo  de'  madrigali  a  cinque  voci,  Venice, 
Gai-dane,  1605  ;  II  libro  delle  gagliarde  inta- 
volate  ])er  sonare  nel  cembalo  e  liuto,  Venice. 
Vincenti,  1607  ;  II  libro  secondo  de'  madri- 


AXFOSSI 


gali  a  ciuqiie,  sei  voci,  ed  una  a  otto  voci, 
ib.,  1608  ;  La  recreazione  armouica,  iiia- 
drigali  a  una,  due  voci,  Venice,  Gardaue, 
1611  ;  Teatro  armonico  spirituale  di  lua- 
drigali  a  ciuque,  sei,  sette  e  otto  voci, 
coinposti  dal  rev.  D.  Francesco  Anerio  ro- 
mano,  e  fatti  imprimere  da  Oraz.  GriflS, 
cant,  jjont.  in  Eoma,  per  Giovanni  Battista 
Robletti,  in  1619  (this  work  contains, 
among  other  things,  the  Conversione  di  S. 
Paolo,  and  II  figluol  jsrodigo)  ;  Dialogo  pas- 
torale a  tre  voci  con  1'  intavolatura  di  cem- 
balo e  del  liuto  in  ranie,  Rome,  Verovio, 
1600.  Some  motets  of  Francesco  Anerio 
are  contained  in  the  Coustantini  coUectiou, 
referred  to  in  the  jireceding  article,  and  a 
sonnet,  "  Destati  Apollo,"  in  the  Petrozzi 
collection.  Some  one-voice  motets  are  in 
Giovanni  Domenico  Puliaschi's  Gemma 
musicale,  Rome,  1618.  Anerio's  arrange- 
ment of  Palestrina's  "  Messa  di  Pajsa  Mar- 
cello  "  for  four  voices  was  first  published  in 
Rome  in  1600.  Several  editions  of  a  col- 
lection containing  this  arrangement,  to- 
cether  with  two  other  masses  bv  Pales- 
triua  and  one  bv  Anerio  were  published  in 
Rome  in  1626,  1639,  1689.— Ambros,  iv. 
74  ;  Grove,  i.  67. 

ANFOSSI,  PASQITALE,  born  at  Naples 
about  1736,  died 
in  Rome  in  Feb- 
ruary, 1797.  Dra- 
matic composer, 
pupil  of  the  Con- 
servatorio  d  e  11  a 
Pieta,  Naples, 
where  he  first 
studied  the  violin, 
but  soon  aban- 
doned it  for  com- 
position, iu  which 

he  became  a  favourite  ^juj^il  of  Piccinni,  who 
procured  him  au  engagement  in  1771  at  the 
Teatro  delle  Damme,  Rome.  Having  failed 
with  his  first  opera,  1769,  in  Venice,  where 
he  had  become  maestro  di  cappella  at  the 
Conservatorio  del  Ospedaletto,  and  with  his 
next  effort  in  Rome,  he  finally  obtained  a 


brilliant  success  there  in  1773  with  his  In- 
cognita perseguitata,  and  thenceforth  was 
Piccinni's  rival.  But  as  early  as  1776  he  ex- 
j)erienced  the  fickleness  of  the  public,  and 
left  Rome  in  disgust,  to  write  for  the  prin- 
cipal theatres  of  Italy.  In  1780  he  went  to 
Paris,  where  several  of  his  operas,  translated, 
had  been  successfullj'  given  in  1778  and 
1779,  but  left  a  year  after  for  London,  called 
there  as  conductor  of  the  Itahan  opera.  In 
1783  he  brought  out  operas  in  Berlin  and 
Prague,  returned  in  1784  to  Italy,  and  in 
1787  to  Rome,  where  he  won  new  tri- 
umphs, but,  tired  of  the  stage,  applied  for 
the  position  of  maestro  di  cappella  at  S. 
Giovanni  in  Laterano,  which  he  obtained  iu 
1791.  His  reputation  was  equal  to  that  of 
the  greatest  masters  of  his  time,  his  comic 
operas  especially  being  considered  models 
in  style  and  in  technical  structure.  He  in- 
troduced into  the  opera  the  elaborate  finale, 
which,  in  his  Avaro,  and  in  Isabella  e  Ro- 
drigo,  were  of  such  mastery  as  to  serve  even 
Mozart  as  examples.  His  instrumentation 
was  rich  and  varied.  Works — Operas: 
Cajo  Mario,  given  at  Venice,  1769  ;  La  cle- 
menza  di  Tito,  Rome,  1769  ;  I  visiouari,  ib., 
Teatro  delle  Damme,  1771  ;  II  barone  di 
Rocea,  ib.,  1772  ;  L'  incognita  perseguitata, 
Demofooute,  ib.,  1773  ;  Autigono,  Venice, 
1773  ;  Lucio  Silla,  ib.,  1774  ;  La  finta  giar- 
diniera,  Rome,  Teatro  delle  Damme,  1774  ; 
H  geloso  in  cimento,  La  contadina  in 
Corte,  L'  avaro,  ib.,  1775  ;  Isabella  e  Ro- 
drigo,  o  la  costanza  iu  amore,  La  pescatriee 
fedele,  Olimpiade,  ib.,  1776  ;  Lo  sposo  dis- 
perato,  ib.,  1778  ;  II  curioso  indiscreto, 
Cleopatra,  Milan,  1778  ;  II  inatrimouio  per 
inganno,  Paris,  Theatre  de  I'Academie  Roy- 
ale,  1779  ;  La  forza  delle  donne,  Milan, 
1780  ;  I  vecchi  burlati,  London,  1781  ;  I 
viaggiatori  felici,  Armida,  ib.,  1782  ;  Gli 
amauti  canuti,  Dresden,  1784  ;  II  trioufo 
d'  Ariana,  Prague,  1784  ;  II  cavaliere  per 
amore,  Berlin,  1784  ;  Chi  cerca  trova,  opera 
buffa,  Florence,  1784  ;  La  vedova  scaltra, 
Castel-Nuovo,  1785  ;  Didone  abbandonata, 
Naples,  1785  ;  L'  imbroglio  delle  tre  spose, 


ANGE 


Padua,  1786  ;  La  jjazzia  de'  gelosi,  Fabiano 
and  Home,  1787  ;  Creso,  La  villauella  di 
spirito,  Rome,  1787  ;  Artaserse,  La  maga 
Circe,  ib.,  1788  ;  L'  orfanella  americana, 
Venice,  1788  ;  Le  gelosie  fortunate,  Bel- 
luuo,  1788  ;  La  gazzetta,  ossia  il  baggiano 
deluso,  Rome,  1789  ;  Zeuobia  in  Palmira, 
Florence,  1790  ;  Issipile,  ib.,  1791 ;  E  zo- 
tico  iucivilito,  Dresden,  1792  ;  L'  Americana 
in  Olanda,  Matilda  ritrovata,  Gli  artigiaui, 
ib.,  1793  ;  II  j)rincipe  di  Lago  negro.  Other 
works  :  La  feria  del  Ascensione,  oratorio, 
1786  ;  Nose  saorificium,  do.  ;  Assalone,  do.  ; 
Sant'  Elena  al  Calvario,  do. ;  Mass  for  four 
voices  and  orchestra  ;  Laudate  jjueri,  Lau- 
date  Jerusalem,  both  with  grand  orchestra  ; 
Salve  regina  ;  Kyrie  and  Gloria  for  eight 
voices  ;  Ut  queant  laxis,  do.  ;  Lauda  Sion, 
do..  Dixit  Dominus  (2),  do.,  Beatus  vir, 
do.  ;  Confitebor,  Beatu^vir,  Laudate  pueri, 
psalms  for  five  voices ;  Several  psalms  and 
masses  for  four  voices  and  orchestra  ;  mo- 
tets and  anthems. — Fetis  ;  Mendel  ;  Schil- 
ling. 

ANGE  ADORE  DONT  LA  CELESTE 
IMAGE.     See  Damnatim  de  Faust. 

ANGELET,  CHARLES  FRANCOIS,  born 
at  Ghent,  Nov.  18,  1797,  died  there,  Dec. 
20,  1832.  Pianist,  first  instructed  by  his 
father,  then  pupil,  at  the  Paris  Conserva- 
toire, of  Zimmermanu  on  the  pianoforte, 
winning  the  first  prize  in  1822  ;  of  Dour- 
len  in  harmony  and  accompaniment,  and 
of  Fetis  in  composition.  He  settled  at 
Brussels  to  teach  the  pianoforte,  and  in 
1829  was  made  pianist  to  King  William. 
Works  :  Marclio  varic'e,  for  jsianoforte,  op. 
1  (Paris)  ;  Eight  variations,  and  polonaise, 
op.  2  (ib.) ;  Trio  for  pianoforte,  violin,  and 
violoncello,  op.  3  (ib.,  Leduc)  ;  Symjshony 
for  grand  orchestra,  oji.  5  ;  Divertissement 
pastoral  for  pianoforte,  for  four  hands,  op. 
8 ;  Fantaisies,  caprices,  melanges,  etc.,  on 
different  airs,  op.  6,  7,  9,  10,  12,  14,  15, 
16,  17;  etc.— Fetis;  Mendel. 

ANGELICA  E  MEDORO  (Angelica  and 
Medor),  Italian  opera,  text  by  Villati,  music 
by  Lampuguani,  Venice,  1738  ;  music  by  C. 


H.  Graun,  Berlin,  1749  ;  music  by  Andre- 
ozzi,  Venice,  1783  ;  music  by  Vaunacci, 
Italy,  about  1790  ;  music  by  Niccolini, 
Milan,  1811  ;  Angclique  et  Medor,  French 
opera-bouffe  in  one  act,  test  by  Sauvage, 
music  by  Ambroise  Thomas,  Opera  Co- 
mique,  Paris,  May  10,  1848  (published  by 
Escudier). 

ANGELONI,  ,  Italian  dramatic  com- 
poser, contemporary.  He  brought  out  the 
opera  Osrade  degli  Abencerraggi,  at  Lucca, 
1871. — Fetis,  Supplement,  i.  16. 

ANGER,  LOUIS,  born  at  Audreasberg, 
Hanover,  Sept.  5,  1813,  died  at  Liiueburg, 
Jan.  18,  1870.  Organist  and  pianist,  first 
instructed  on  the  organ  and  pianoforte  by 
an  old  organist  in  his  native  place,  then  pu- 
pil at  Weimar,  whither  he  went  in  1833,  of 
Hummel  on  the  pianoforte,  and  of  Tojifer 
in  composition  ;  settled  at  Leijisic  in  1836 
to  teach  music,  and  was  called  to  Liineburg 
in  1842  as  organist  of  St.  John's  Church. 
Works  :  6  melodious  pieces  for  jiiauoforte, 
0^3.  1  (Leipsie,  Hofmeister)  ;  Grand  varia- 
tions for  do.,  op.  3  (ib.)  ;  Concert  overture 
for  grand  orchestra  (Leipsie,  Whistling)  ;  6 
songs,  with  pianoforte,  op.  2  (ib.) ;  4  do., 
(sp.  22  ;  Christnacht,  cantata,  for  soli,  chorus, 
and  orchestra  ;  Fugues  for  organ. — Fetis  ; 
Mendel. 

ANGERMEYER,  JOHANN  IGNAZ,  born 
at  Biliu  (?),  Bohemia,  died  in  Vienna,  Feb. 
23,  1732.  Virtuoso  on  the  violin,  and  com- 
poser of  several  concertos  for  his  instru- 
ment.—Mendel. 

ANGIOLINI,  GASPARO,  born  in  Milan 
in  the  18th  century.  Composer  of  ballets, 
celebrated  all  over  Italy.  He  went  first  as 
ballet-master  to  Vienna,  then  in  1760  to  St. 
Petersburg,  and  after  his  return  to  Italy 
lived  in  Milan  and  Rome,  overwhelmed  with 
orders  to  write  for  the  stages  of  both  cities. 
— Mendel ;  Schilling. 

ANGIOLINI,  GIOVANTSfl  FEDERIGO, 
born  at  Siena  about  1760,  died  after  1812. 
Pianist,  studied  while  travelling  through 
Italy,  and  in  1784  went  to  Germany  ;  he 
lived  in  Berlin  in  1787-91,  and  after  a  visit 


64 


ANGLEBERT 


fo  St.  Petersburg  returned  to  Germany  in 
1797,  settling  at  Brunswick,  and  afterwards 
to  Italy.  Works :  Sonata  for  pianoforte 
and  flute  ;  Variations  on  the  duet  :  Pace, 
caro  mio  sposo  ;  6  duos  for  two  flutes  or 
violins  (London,  1788) ;  3  sonatas  for  hai-p 
with  flute  ad  lib.  (Berlin,  1792) ;  Sonata 
seeonda  for  pianoforte  and  flute  (Berlin, 
1794) ;  6  variations  for  harp  or  pianoforte 
(Brunswick,  1797);  Arie  aus  dem  Sonntags- 
kinde  :  Ich  sage  es  doeh  immer,  with  vari- 
ations for  harp  or  pianoforte  (ib.,  1797). — 
Fetis  ;  Mendel ;  Schilling. 

ANGLEBERT,  JEAN  HENRI  D',  born 
about  1G28,  died  in  Paris,  April  23,  1G91. 
Organist  to  the  Due  d'Ork'aus  and  after- 
wards chamber-musician  to  Louis  XIV. 
His  works  include  a  collection  of  original 
fugues  for  the  organ,  and  chaconnes,  over- 
tures, and  other  airs  by  Lulli,  arranged  for 
harpsichord  (Paris,  1689). — Fotis  ;  do..  Sup- 
plement, i.  17  ;  Mendel. 

ANGSTENBERGER,  MCHAEL,  born 
at  Reichstadt,  Bohemia,  Jan.  2,  1717,  died 
in  Vienna,  May  1.5  (Aug.  20  ?),  1789.  He 
studied  theology,  entered  the  Order  of  the 
Knights  of  the  Cross  in  1738,  of  which 
he  was  chaplain,  and  in  1743-68  was  dean 
at  Karlsbad,  and  finallj'  commendator  at 
St.  Charles's  in  Vienna.  His  compositions, 
in  the  style  of  Lotti,  often  performed  in 
his  time,  remain  in  MS. — F<''tis  ;  Wurzbach, 
i.  40. 

ANICHINI,  FRANCESCO,  Italian  com- 
poser of  chamber  and  church  music,  con- 
temporarj-.  Professor  at  the  Royal  Insti- 
tute of  Music,  Florence  ;  won  prizes  in 
1862,  1863,  1865,  for  string  quartets.  He 
also  published  a  Requiem  with  grand  or- 
chestra, an  Ave  Maria  for  four  voices,  and 
other  church  music. — Fetis,  Supplement,  i. 
17. 

ANIMUCCIA,  GIOVANNI,  born  in  Flor- 
ence about  the  beginning  of  the  16th  cen- 
tury, died  in  Rome,  March,  1571.  Vocal 
composer,  pupil  of  Claude  Goudimel. 
From  1555  until  his  death  he  was  maestro 
di  cappella  of   the  Vatican,  a  position  in 


which  he  was  succeeded  by  Palestrina. 
His  music,  which  is  an  advance  on  the 
productions  of  the  Flemish  school  of  the 
time,  is  marked  by  the  same  religious  spirit 
which  influenced  Palestrina,  with  whom  he 
shared  the  friendship  of  St.  Philip  Neii, 
founder  in  1564  of  the  Congregation  of  the 
Oratory.  For  this  congregation,  one  of  the 
objects  of  which  was  to  render  religious 
services  attractive  to  the  young,  to  keep 
them  from  vain  amusements,  Animuccia 
composed  the  Landi,  to  be  sung  at  the  con- 
clusion of  the  regular  ofBce,  from  the  dra- 
matic style  of  which  the  oratorio  is  said  to 
have  been  developed.  Hence  he  is  some- 
times called  the  Father  of  Oratorio.  Many 
of  his  masses,  magnificats,  motets,  madri- 
gals, and  several  of  the  Laudi,  were  pub- 
lished during  his  lifetime  by  Gardane, 
Dorici,  and  liy  Baldo's  successors,  but  the 
larger  part  of  his  compositions  is  probably 
in  MS.  Among  his  published  works  are  : 
II  prinio  libro  di  madrigali,  etc.  (Rome, 
1595) ;  Joannis  Animuccite  magistri  capelliB 
sacrosanctiB  basilic;©  Vatieana^  Missarum 
libri,  etc.  (Rome,  1567) ;  II  primo  lib.  di 
madrigali,  etc.  (Venice,  1567)  ;  Canticum  B. 
Mariie  Vir.,  etc.  (Rome,  1568)  ;  II  secondo 
lib.  delle  laudi  ore  si  contegono  motetti,  etc. 
(Rome,  1570)  ;  Credo  Dominicalis  quatuor 
voc.  (Rome,  1567)  ;  Magnificat,  ad  omnes 
modes,  lib.  2  (Rome,  1568);  these  number 
20.— Fetis  ;  Grove  ;  Mendel  ;  Scliilling. 

ANIMUCCIA,  PAOLO,  born  about  the 
beginning  of  the  16th  century,  died  in  Rome 
in  1563.  One  of  the  most  skilful  contra- 
puntists of  his  time  ;  brother  of  Giovanni 
Animuccia,  but  whether  older  or  younger 
is  unknown.  He  was  maestro  di  cappella 
of  S.  Giovanni  in  Laterano,  after  Rubini,  in 
1550-52.  His  madrigals  and  motets  for 
four  and  six  voices,  scattered  in  many  old 
collections,  were  verj^  popular. — Fetis  ;  Men- 
del. 

ANJOS,  DINIZ  DOS,  born  at  Lisbon  in 
the  first  half  of  the  17th  century,  died  in 
the  monastery  of  Belem,  Jan.  19,  1709. 
Chui'ch  composer,  entered  the  order  of  St. 


55 


ANKEKTS 


Jerome  at  Belem,  in  1656.  Works :  Re- 
spousorios  para  todas  festas  da  primeira 
classe  ;  Psalmos  de  vesperas,  e  Magnificat  ; 
Diversas  missas,  Vilhancieos  et  Motettes. — 
Fetis  ;  Schilling  ;  Vascoucellos. 

ANKERTS,  D".     See  Dankerts. 

ANNA  BOLENA  (Anne  Bolejn),  Italian 
opera,  text  by  Felice  Eomaui,  music  by 
Donizetti,  first  represented  in  Milan  in 
1831.  This  work,  written  for  Pasta  and 
Rubini,  gave  the  composer  a  European  rep- 
utation, and  was  long  considered  his  mas- 
terpiece. It  was  produced  in  Paris,  Sept. 
1,  1831,  and  in  London  the  same  year.  In 
it,  in  the  role  of  Henry  "Vlli.,  Lablache 
first  won  public  attention.  It  was  first 
given  in  New  York,  at  the  Astor  Place 
Opera  House,  Jan.  7,  1850,  with  Signoriua 
Bertucca  in  the  title  role. 

ANNA  VON  LANDSKRON,  German 
opera,  text  by  Nehrlich,  music  by  Abert, 
represented  at  Stuttgart,  December,  1858. 

ANNfiES  DE  PfiLERINAGE  (Years 
of  Pilgrimage),  series  of  compositions  for 
pianoforte,  by  Franz  Liszt,  op.  34.  Pre- 
miere annee,  Suisse  :  1.  Chapelle  de  Guil- 
laume  Tell ;  2.  Au  lac  de  Wallenstadt  ; 
3.  Pastorale  ;  4.  Au  bord  d'uue  soiu'ce ; 
5.  Orage  ;  6.  Vallee  d'Obei-mann  ;  7.  E- 
glogue  ;  8.  Le  mal  du  pays  ;  9.  Les  cloches 
de  Geneve  (nocturne).  Seconde  annee, 
Italie  :  1.  II  sposalizio  ;  2.  II  penseroso  ;  3. 
Cauzonetta  di  Salvator  Rosa  ;  4,  5,  6.  Tre 
sonetti  del  Petrarca  ;  7.  Apres  une  lecture 
de  Dante.  Venezia  e  Napoli  :  1.  Gondo- 
liera ;  2.  Canzone  ;  3.  Tarantelle. 

ANNETTE  ET  LUBIN,  comedy  in  one  act, 
in  verse,  text  by  Mme.  Favart  and  the  Abbe 
de  Voisenou,  music  by  Blaise,  represented 
at  the  Comodie  Italienne,  Paris,  Feb.  15, 
1762.  The  libi-etto  is  an  adaptation  of 
Rousseau's  Devin  du  village.  It  was  re- 
produced in  1800,  with  new  music  by  IMar- 
tini  and  revised  text  by  Lourdet  de  San- 
terre.  La  suite  d'Annette  et  Lubin,  text 
by  Favart,  music  by  Jadin,  given  at  the 
Theatre  Feydeau,  Paris,  March  10,  1791, 
deals  with  the  same  story. 


ANNETTE  ET  LUBIN,  comedy  in  one 
act,  in  verse,  text  by  Marmontel,  music  by 
Laborde,  represented  at  the  private  theatre 
of  Marechal  de  Richelieu,  March  30,  1762. 
The  piece  is  Marmontel's  tale  dramatized, 
with  some  additional  scenes. 

ANNIBALE  (Hannibal),  Italian  opera, 
music  by  Porpora,  re2:)resented  in  Venice, 
1731  ;  music  by  Zingarelli,  Turin,  1787  ; 
Hannibal,  German  opera,  music  by  Johann 
Wolfgang  Franck,  Hamburg,  1681  ;  Anni- 
bale  in  Bitinia,  Italian  opera,  music  by  J. 
Niccolini,  Padua,  1818  ;  Annibale  in  Capua, 
P.  A.  Ziani,  Venice,  1661  ;  by  Salieri,  Vien- 
na, 1801  ;  by  Cordelia,  Naples,  1808  ;  text 
by  Romanelli,  music  by  Farinelli,  Milan, 
1810;  by  Ellerton,  Prussia,  about  1830; 
Annibale  in  Italia,  text  by  Duranti,  music 
by  Paisiello,  Turin,  1773  ;  Annibale  in  To- 
rino, music  by  Lodovico  Ricci,  Turin,  1830 ; 
Annibal  et  Scipion,  by  Jules  Conrardy, 
Liege,  1860. 

ANNIBALE,  surnamed  Patavinus  or  Pa- 
dovano,  born  at  Padua  in  the  16th  century, 
died  at  Venice,  probably  in  1556.  Contra- 
puntist, became  organist  at  S.  Marco,  Ven- 
ice, in  1552.  He  was  also  the  best  lute  and 
harpsichord  player  of  his  epoch.  Works  : 
Liber  primus  motettorum  quinque  et  sex 
vocum  (Venice,  157G)  ;  Cantiones  quatuor 
voeum  (ib.,  1592)  ;  Madrigali  a  cinque  voci 
(ib.,  1583) ;  2  masses  (Venice,  Antonio  Gar- 
dane,  1566). — Fetis  ;  Mendel  ;  Schilling. 

ANNUNCIAglO,  G.ABRIEL  DA,  born 
at  Ovar,  Portugal,  in  1681,  still  living  at 
Lisbon  in  1747.  He  studied  music  in  his 
native  place,  and  in  the  convent  of  Leii'ia, 
having  entered  the  Order  of  St.  Francis  in 
1706.  He  occupied  subsequently  musical 
jiositions  in  the  convents  of  his  order  at 
Coimbra,  Oporto,  and  Lisbon.  He  left  a 
great  number  of  masses,  anthems,  motets, 
etc. — Fetis,  Supplement,  i.  17  ;  Vasconcel- 
los. 

ANSANI  (Anzani),  GIOVANNI,  born  in 
Rome  about  the  middle  of  the  18th  cen- 
tury, died  at  Naples  after  1815.  Dramatic 
composer,  one  of  the  most  famous  Italian 


G6 


ANSCHtTTZ 


tenor  singers.  He  sang  first  at  Copen- 
hagen in  1770,  in  Holland  in  1774,  and  at 
the  Italian  opera  in  London  in  1782-84, 
after  which  he  returned  to  Italy,  and  for 
sevei'al  years  was  famous  in  Florence.  Af- 
ter singing  on  the  principal  stages  of  Italy, 
he  settled  at  Naples  as  a  teacher.  Works  : 
La  vendetta  di  Minos,  opera,  given  in  Flor- 
ence, 1791  ;  Duets  for  two  sopranos  ;  do. 
for  soprano  and  tenor,  with  basso  con- 
tinue.— Fetis  ;  Mendel  ;  Schilling. 

ANSCHUTZ,  JOHANN  ANDREAS, 
born  at  Coblentz,  Germany,  jNIarch  19, 
1772,  died  there  in  1858.  Pianist,  pupil 
of  his  grandfather,  who  was  court  organ- 
ist and  Kapelldirector  to  the  Elector  at 
Treves.  In  1808  he  founded,  at  Coblentz, 
a  musical  society  with  a  school  for  instru- 
mental and  vocal  instruction,  which  was 
subvened  by  the  goverinnent.  Works  : 
Sechs  deutsche  Lieder  (Bonn,  Simrock)  ; 
other  songs  and  airs,  German,  French,  and 
Italian  (ib.) ;  Ehapsodische  Gesiinge,  op.  8 
(Augsburg,  Gombart)  ;  3  songs  (Leipsic, 
Breitkopf  uud  Hilrtel)  ;  Waltzes  for  orches- 
tra, books  1,  2,  3,  4  (Bonn,  Simrock)  ; 
Waltzes  for  pianoforte,  books  2,  3,  and  4 
(ib.) ;  8  allemandes  fordo.  (Augsburg,  Gom- 
bart) ;  Masonic  hymn  for  three  voices  and 
chorus,  with  two  violins,  viola,  and  violon- 
cello (Bonn,  Simrock) ;  Tantum  Ergo  ;  Ecce 
Panis ;  Masses  with  orchesti-a.  His  son 
Karl,  born  at  Coblentz  in  1815,  died  in 
New  York,  December,  1870  ;  pupil  of  Fried- 
rich  Schneider,  took  charge  of  his  father's 
musical  institute  in  1844,  but  went  to  Entr- 
land  in  1848,  and  to  America  in  1857, 
where  he  conducted,  for  several  years, 
UUmann's  opera  orchestra.  He  composed 
songs  and  pianoforte  pieces.  — Fetis  ;  Men- 
del ;  Schilling,  Supplement. 

ANSIAUX,  JEAN  HUBERT  JOSEPH, 
born  at  Huy,  Belgium,  Dec.  16,  1781,  died 
there.  Dee.  4,  1826.  Dramatic  composer, 
pupil  of  Tingry  on  the  pianoforte,  and  of 
Heukart  in  harmony  ;  went  to  Paris  in  1808, 
and  after  his  return  became  the  warm  pa- 
tron of  all  musicians  and  artistic  institu- 


tions of  his  native  city.  Works  :  Les  reve- 
nants,  opera  ;  L'apotheose  de  Gretry,  lyr- 
ical drama,  given  at  Lifege,  1820  ;  Jephte, 
oratorio  ;  La  Fete  de  Sainte-Cecile,  cantata  ; 
9  masses  ;  3  Te  Deums  ;  Overtures,  and  oth- 
er works  for  orchestra. — Biog.  nat.  de  Bel- 
gique,  i.  338  ;  Fetis  ;  do..  Supplement,  i.  18. 

ANSORGE,  CONRAD,  born  at  Buch- 
wald,  Silesia,  Oct.  15,  1862.  Pianist,  pupil 
in  Leipsic  of  Professor  Paul  (1880-82),  and 
at  Weimar  (1885)  of  Liszt,  with  whom  he 
went  to  Rome  during  the  winter  of  1885-86. 
From  Weimar,  whither  he  returned  in  the 
summer  of  1886,  he  undertook  concert  trips 
to  the  larger  cities  of  Germany,  and  in  Jan- 
uary, 1888,  went  to  New  York,  where  he 
made  a  successful  debut  at  Steinway  Hall. 
Works  :  Sonata  for  pianoforte,  in  F  minor  ; 
other  pianoforte  music. 

ANTAO  DE  SANTA  ELIAS,  born  at  Lis- 
bon about  1690,  died  there  in  1748.  Harp- 
ist, went  at  an  early  age  to  America,  where 
he  received  his  musical  education.  After 
his  return  he  entered  the  order  of  the  Car- 
melites at  Lisbon,  and  became  mestre  de 
capella.  His  works,  consisting  of  masses, 
Te  Deums,  psalms,  hymns,  and  cantatas  are 
preserved  in  the  library  of  his  monastery. — 
Mendel  ;  Schilling. 

ANTEGNATI,  COSTANZO,  born  at  Bre- 
scia about  the  middle  of  the  16th  century, 
died  there  after  1619.  The  son  of  Gratiadio 
Antegnati,  the  famous  organ-builder,  whose 
craft  he  followed  ;  he  was  organist  at  the 
cathedral  of  his  native  city  until  1619, 
when  he  had  a  stroke  of  paralysis.  Works  : 
Canzoni  a  quattro  voci,  four  books  (Venice, 
Vineenti) ;  Messe  e  niotetti  a  due  e  tre  chori 
(ib.,  Magni)  ;  Messe  e  sinfonie  a  otto  (ib.)  ; 
Motetti  e  letanie  a  tre  (ib.)  ;  Messe  a  sei  e 
otto  voci  (ib.,  Gardano)  ;  Inni  d'  intavola- 
tura  d'  organo  ;  L'  antegnata,  intavolatura  di 
ricercate  ;  Salmi  a  otto  voci  (Venice,  Gar- 
dano, 1592)  ;  Motetti  a  tre  voci  ;  Motetti  e 
messe  a  dodici  in  tre  chori  (Venice,  Vin- 
eenti) ;  Canzoni  da  sonare  a  quattro  e  otto 
voci  (Venice,  1619) ;  L'  Arte  organica  (Bre- 
scia, 1608). — Fetis,  Schilling. 


57 


ANTHIOME 


ANTHIOME,  EUG£NE  JEAN  BAP- 
TISTE,  boni  at  Lorieut,  France,  Aug.  19, 
1836,  still  living,  1888.  Dramatic  composer, 
pupil  at  the  Paris  Conservatoire  of  Elwart 
in  harmony,  of  Benoist  on  the  organ,  and 
of  Carafa  in  composition  ;  won  the  second 
grand  prix  in  1861,  and  became  repctiteur 
at  the  Conservatoire  iu  1863.  Works  :  II 
faut  semer  pour  rccolter,  operette,  given  in 
Paris,  Theatre  des  Fantaisies  Parisieunes, 
1866  ;  Le  dernier  des  Chippeways,  do.,  ib., 
Folies  Bergtjres,  1876;  6  croquis  d'album, 
suite  de  morceaux  de  piano  (Paris,  Grus). 
— Fctis,  Supplement,  i.  18. 

ANTIGONE,  tlie  heroine  of  Sophocles's 
tragedy  of  the  same  name.  The  daughter 
of  CEdipus  and  of  Jocasta,  she  is  condemned 
to  be  shut  up  in  a  subterranean  cave  by  the 


tyrant  Creon  because  she  had  given  sepul- 
ture, contrary  to  his  orders,  to  the  body  of 
her  brother  Polynices.  She  kills  herself, 
and  her  lover  Hsemon,  son  of  Creon,  kills 
himself  beside  her.  The  original  text  of 
Sophocles,  translated  by  Conner,  music — 
introduction  and  seven  numbers — by  Men- 
delssohn, first  represented  at  the  Neue  Pa- 
lais, Potsdam,  Oct.  28,  1841  ;  first  public 
performance,  Berlin  Ojsera,  Nov.  6,  1841  ; 
given  in  Paris  at  the  Odeon,  May  21,  1844, 
and  in  London,  Covent  Garden,  Jan.  2, 1845. 
The  Invocation  to  Bacchus,  called  the  Bac- 
chus Chorus,  is  the  most  striking  part.  Its 
success  in  London  was  not  great  at  first, 
owing  to  the  way  the  chorus  was  put  upon 
the  stage,  which  was  satirized  by  "Punch" 
(Jan.  18,  1845)  in  a  cut  here  reproduced,  but 
it  finally  ran  forty-five  nights.    Italian  operas 


on  the  same  subject ;  music  by  Galuppi, 
represented  in  Italy  about  1754  ;  music  by 
Parenti,  Italy,  about  1786;  by  Campobasso, 
Milan,  1789  ;  BassiU,  Venice,  1800  ;  by  Or- 
landini,  Bologna,  1818  ;  Antigone,  German 
opera,  by  J.  A.  Hasse,  Brunswick,  1723,  his 
first  opera  and  his  only  one  with  a  German 
text  ;  by  Bernasconi,  Vienna,  about  1745  ; 
by  Wagenseil,  Vienna,  1750  ;  by  Mortellari, 
Rome,  1782  ;  ojsera  seria  iu  three  acts,  by 
Hoszisky,  Eheinsberg,  about  1787  ;  grand 
opera  in  three  acts,  text  by  Marmontel, 
music  by  Zingarelli,  Academie  Royale  de 
Musique,  Paris,  April  30,  1790  ;  by  Gandini, 
Modena,  1824  ;  Antigona  ed  Emone  (Anti- 
gone and  Hsemon),  ballet,  music  by  Pierre 
Dutillieu,  Naples,  1788. 

ANTIGONO  (Antigonus),  Italian  opera  in 
three  acts,  text  by  Metas- 
tasio,    music     by     Johann 
Adolph  Hasse,  first  repre- 
sented in  Dresden,  during 
the  carnival,  1744.     Scene 
in  Thessalonica,  a  maritime 
city  of  Macedonia.    Charac- 
ters represented :  Antigono 
Gonata,  King  of  Macedonia; 
Berenice,  Princess  of  Egypt, 
betrothed  to  Antigono  ;  Is- 
I  mene,  daughter  of  Antigono,  in  love  with 
Alessandro  ;  Alessandro,  King  of  Epirus,  in 
I  love  with  Berenice  ;  Demetrio,  son  of  Anti- 
gono, also  in  love  with  Berenice  ;  Clearco, 
captain  of  Alessandro  and  friend  of  Deme- 
trio.    Metastasio's  libretto  has  been  set  to 
music  also  by  Gluck,  Eome,  1754  ;  by  Caf- 
faro,  Naples,  1754  ;  by  Santis,  Naples,  1760  ; 
by  Francesco  Ciampi,  Venice,  1762  ;  by  Ga- 
luppi, Italy,    1762  ;   by  Francesco  Zanetti, 
Leghorn,  1765  ;  by  Majo,  Naples,  1768  ;  by 
Scliwanberg,   Brunswick,    1769  ;  by  Pietro 
Pompeo  Sales,  Munich,  1769  ;  by  Piccinni, 
Rome,  1771  ;  by  Tommaso  Traetta,  St.  Pe- 
I  tersburg,  1772  ;  by  Sacchini,  London,  1773  ; 
I  by  Giordani,    London,    1773  ;   by   Aufossi, 
Rome,  1773  ;  by  Giuseppe  Gazzaniga,  Na- 
ples, 1779  ;  by  "Paisiello,  Naples,  1784  ;  by 
Righini,   Mainz,   1788  ;   by   Caruso,   Rome, 


58 


ANTIOCO 


1788,  Venice,  179-1  ;  by  Peter  von  Winter, 
Naples,  1791 ;  by  Seraochini,  Florence,  1794  ; 
Antigonus,  by  von  Poissl,  Munich,  1808. 

ANTIOCO  (Antiochus  I.).  See  Antiochus 
und  Stratoiiice. 

ANTIOCO  (Antiochus  v.),  Italian  opera,  by 
Augelo  Tiirchi,  represented  at  Milan,  1788. 
Subject,  Antiochus  V.  (Eupator),  who  was  de- 
throned and  put  to  death  by  Demetrius  Soter. 

ANTIOCO  XL  GRANDE  (Antiochus  the 
Great),  Italian  opera,  nnisic  by  Legreuzi, 
represented  in  Venice,  1681.  Subject,  the 
career  of  Antiochus  III.,  King  of  Syria,  who 
made  warlike  expeditions  into  India,  Egypt, 
and  Greece,  and  whose  ambition  was  finally 
curbed  by  the  Romans. 

ANTIOCHUS  UND  STRATONICE,  Ger- 
man opera,  music  by  Graupner,  represented 
at  Hamburg,  1708  ;  Antiochus  et  Stratoniee, 
French  opera,  music  by  Langle,  Versailles, 
1786.  Subject,  the  love  of  Antiochus  I. 
(Soter)  for  his  stepmother  Stratoniee,  wife 
of  Seleuous  Nicator,  King  of  Syria.  His 
father,  discovering  his  son's  malady  through 
his  physician  Erasistratus,  resigned  her  to 
him  and  made  him  King  of  Upper  Asia. 
The  operas  Antioco,  by  Cavalli,  Venice, 
1658  ;  Carpani,  Bologna,  1G73  ;  and  Gaspa- 
rini,  Rome,  1705,  deal  with  the  same  subject. 

ANTOIN,  FERDINAND  D',  flourished 
in  Germany  about  1780-9-1.  Dramatic 
composer  and  pianist,  chiefly  self  taught 
from  the  theoretical  works  of  Marpurg, 
Kirnberger,  and  Riepel.  He  was  a  captain 
in  the  service  of  the  Elector  of  Cologne, 
and  during  his  campaigns  and  travels  was 
much  influenced  by  Italian  and  French  mu- 
sic. Works  :  II  moudo  al  rovescio,  opera 
buffa,  given  at  Cologne,  1780  ;  Das  tartar- 
ische  Gesetz,  opera,  ib.,  about  1783  ;  Das 
Mildchen  im  Eichthal,  ib.,  about  1790 ;  Otto 
der  Schiitz,  ib.,  about  1792  ;  Der  Fiirst  und 
seiu  Volk,  operetta,  ib.,  about  1793  ;  Ende 
gut,  AUes  gut,  do.,  ib.,  1794  ;  Choruses  to 
the  tragedy  of  Lanassa ;  Symphonies  and 
quartets. — Fetis  ;  Schilling. 

ANTONELLI  (Antinelli),  ABONDIO, 
born  in  the  second  half  of  the  16th  century. 


died  in  Rome,  probably  in  1669.  He  was 
maestro  di  cappella  of  the  episcopal  church 
at  Benevento,  Naples,  and  in  1G08  of  San 
Giovanni  in  Laterano,  Rome.  Works  :  Missa 
a  quattro  voci  e  quattro  Motetti  a  due,  con 
organo  (Rome,  1629)  ;  Missa  breve  a  quat- 
tro. Salmi  e  motetti  a  tre  e  quattro,  con 
basso  continue  (ib.,  1628)  ;  Liber  primus 
diversarum  modulationum  (ib.,  1615)  ;  Mo- 
tetti a  quattro  chori. — Fetis. 

ANTONI,  ANTONIO  D',  born  at  Pa- 
lermo, June  25,  1801,  still  living,  1888. 
Dramatic  composer,  earned  applause  even 
as  a  boy  of  twelve  with  a  mass,  composed 
for  the  Feast  of  St.  Cecilia  ;  wrote  his  first 
oj)era  when  eighteen,  and  became  director 
of  the  opera  at  Syracuse  and  at  Malta. 
After  travelling  in  France  and  England,  he 
settled  at  Venice  to  teach  music  and  went 
afterwards  to  Trieste,  whither  he  returned 
after  a  stay  at  Florence.  In  1851  he  found- 
ed the  Accademia  Filarmonica,  of  which  he 
became  director.  Works — Operas  :  Uu  du- 
ello ;  Gli  amanti  burlati,  given  at  Syracuse 
about  1820  ;  II  peregrino,  Malta ;  Armina, 
Trieste  ;  Amazilda,  Florence  ;  Several  can- 
tatas. Fugues  for  four  hands,  Canons,  etc. — 
Wurzb.aeh,  i.  47  ;  Mendel. 

ANTONH,  PIETRO  DEGLI,  born  at  Bo- 
logna about  1630,  died  there  shortly  after 
1718.  Church  composer  and  cornet  player, 
became  maestro  di  cappella  of  S.  Giovanni 
in  Monte,  and  was  one  of  the  members  of 
the  Accademia  Filarmonica  from  its  foun- 
dation in  1666,  and  principe  six  times  be- 
tween 1676  and  1718.  Works;  Missa  e 
salmi  a  tre  voci,  op.  2  (Bologna,  Monti, 
1670)  ;  Concerti  da  chiesa  a  due  violiui, 
viola  e  contiuuo  per  organo  ;  Sonate,  arie, 
oisfhe  e  balletti  a  tre  stromenti,  op.  4  ;  Ri- 
cercate  a  violino  solo  e  violone  o  continuo, 
op.  5  (Bologna)  ;  Sei  motetti  a  voce  .sola, 
etc.,  op.  7  (ib.,  1696) ;  Tre  messe  per  due 
soprani  e  basso  con  due  violini,  op.  8.^ 
Fetis;  Schilhng. 

ANTONIOTTI,  GIORGIO,  born  in  Lom- 
bardy  in  1692,  died  at  Milan  in  1776.  In- 
strumental composer  of  repute  in  his  time. 


59 


ANTONY 


He  lived  several  years  in  Holland,  vrbere  he 
published  in  1736  his  first  work,  consisting 
of  twelve  sonatas  for  viola  di  gamba  ;  after- 
wards went  to  Loudon,  where  he  resided 
for  more  than  twenty  years,  and  where  an 
English  translation  of  his  "Arte  armonica," 
a  treatise  on  composition,  was  published  in 
1761.  About  1770  he  returned  to  Milan. 
• — Fetis  ;  Schilling. 

ANTONY  AND  CLEOPATRA.  See 
Cleopatra. 

ANTONY,  FRANZ  JOSEF,  born  at 
Miinster,  Westphalia,  Feb.  1,  1790,  died 
there  in  1837.  Organist,  son  and  pupil 
of  Josef  Antony  (1758-1836,  organist  of 
Miinster  Cathedi'al) ;  became  choir  director 
at  the  cathedral  in  1819,  and  organist,  suc- 
ceeding his  father,  in  1832.  Works  :  Die 
Muse,  cantata  ;  Wer  spannet  den  Bogen, 
do.  ;  Masses,  chorals,  and  other  church 
music  ;  Quartets  for  strings ;  Sonatas  for 
pianoforte.  He  was  also  a  learned  writer 
on  music. — Fetis;  Mendel;  Schilling,  Sup- 
plement. 

AMERICAN  SYMPHONY,  by  Louis 
Maas,  o-p.  15,  first  performed  in  the  Music 
Hall,  Boston,  Dec.  14,  1883,  with  great  suc- 
cess. The  work,  whicli  was  suggested  while 
travelling  on  the  prairies,  is  dedicated  to 
President  Arthur.  It  is  in  four  parts :  1. 
Morning  on  the  Prairies ;  2.  The  Chase  ; 
3.  An  Indian  Legend  ;  4  Evening,  Night, 
and  Sunrise. 

ANVIL  CHORUS.     See  Tromtore. 

AOUST,  Marquis  JULES  D',  born  in 
France  about  1825,  still  living,  1888.  Am- 
ateur dramatic  composer,  author  of  the 
operettas :  L'amour  voleur,  given  in  Paris, 
1865  ;  La  ferme  de  Miramar,  ib..  Theatre 
de  I'Atheuee,  1874. — Futis,  Suisplement,  i. 
18. 

APEL,  GEORG  CHRISTIAN,  born  at 
Triichtelborn,  near  Erfurt,  Nov.  21,  1775, 
died  at  Kiel,  Aug.  31,  1841.  Contrapuntist 
and  organist,  pupil  at  Erfurt  of  Kittel ; 
became  organist  in  1796  at  St.  Thomas's 
Church  there,  and  in  1804  at  St.  Nicholas's 
in  Kiel,  where  he  was  also  apjjoiuted  musi- 


cal director  at  the  University  in  1818.  He 
deserves  much  credit  for  the  development 
and  treatment  of  church  music,  and  espe- 
cially of  the  Piotestant  choral,  which  was 
promoted  through  his  Choral-Melodienbuch 
(1817).  Only  a  few  of  his  compositions, 
among  which  is  a  successful  oratoi-io,  were 
printed. — Allgem.  d.  Biogr.,  i.  500 ;  Jahn, 
Ges.  Aufsiitze  (1866),  1. 

APELL,  (JOHANN)  DAVID  VON,  born 
at  Cassel,  Feb.  23,  1754,  died  there  in  1833. 
Dramatic  composer,  pupil  of  the  court  mu- 
sician Wiesel,  then  at  Rinteln  of  the  organist 
MiiUer,  and  after  his  return  to  Cassel  of 
Rodewald  and  Johann  Braun  the  younger  ; 
finally,  of  the  court  organist  Kellner.  He 
began  to  acquire  reputation  in  1780,  became 
a  member  in  1786,  under  the  name  of  Ca- 
pelli,  of  the  Accademia  Filarmonica  at  Bo- 
logna, and,  under  the  name  Filleno  Tin- 
daride,  of  the  Ai'cadi  lUustri  at  Rome ; 
and  in  1791  was  made  an  honorary  mem- 
ber of  the  Stockholm  Academy,  and  in 
1800  a  knight  of  the  Golden  Spur  by  Pope 
Pius  Vn.,  to  whom  he  had  dedicated  a 
mass.  At  Cassel  he  reorganized  the  Phil- 
harmonic Society,  and  became  its  first  di- 
rector. Works  :  La  clemenza  di  Tito,  opera, 
given  at  Cassel  about  1786  ;  Tancrede,  do., 
ib.,  about  1789 ;  L'amour  peintre,  comic 
opera,  ib.,  1796  ;  Ascanius  und  L'ene,  dra- 
ma, ib.,  1797  ;  Das  Fest  der  Gatten,  musical 
prologue,  ib.,  1797  ;  Euthj-me  et  Lyris, 
Renaud  dans  la  fon't  enchantee,  ballets,  ib., 
1782  ;  Mass  dedicated  to  Pius  VIL  (1800)  ; 
Laudate  Dominum,  psalm  with  full  orches- 
tra ;  Beati  omnes,  do.;  Tantum  ergo.  Can- 
tatas :  Anacreon  ;  La  tempesta.  La  gelosia. 
La  scusa,  with  full  orchestra  (1786)  ;  Der 
Traum :  Ah  no !  I'augusto  sguardo,  dedi- 
cated to  the  Queen  of  Prussia  ;  Kantate  zur 
Kirchweihe  (1795) ;  II  trionfo  della  musica, 
with  full  orchestra  (1806) ;  3  symphonies 
for  grand  orchestra  (1783) ;  3  quartets  for 
two  violins,  violoncello,  and  bass  (1784) ; 
12  notturni  for  wind  instruments ;  6  polo- 
naises for  grand  orchestra ;  6  marches  for 
the    Hessian    Guard  ;   Choruses   with   fuU 


APELLE 


orchestra ;  24  Italian  scenas  and  airs,  with 
do. ;  6  ItaHan  duets  for  soprano  and  con- 
tralto, with  do. ;  6  canzonets  (1791)  ;  3  do, 
with  viola  and  bass. — Ft'tis  ;  Gerber,  N. 
Lex. ;  Mendel ;  Schilling. 

APELLE  E  CAMPASPE  (Apelles  and 
Campaspe),  Italian  opera,  music  by  Zinga- 
relli,  represented  at  Venice,  1794  ;  music  by 
Tritto,  Milan,  1796 ;  Apelle  et  Campaspe, 
French  opera,  text  by  Dumoustier,  music 
by  Eler,  given  at  the  Opera,  Paris,  July  12, 
1798.  Subject,  the  love  of  the  painter 
Apelles  for  Campaspe,  the  favourite  concu- 
bine of  Alexander  the  Great,  said  by  some 
to  have  been  the  model  of  the  Venus  Ana- 
dyomene. 

APOLLINI,  SALV ADOBE,  born  in  Ven- 
ice about  the  beginning  of  the  18th  centur}'. 
Dramatic  and  vocal  composer.  At  first  a 
barber,  he  studied  the  violin  and  played 
on  it  his  barcaroles,  which  became  popular 
among  the  boatmen  of  Venice.  He  com- 
posed the  three  operas :  Fama  dell'  onore  e 
della  virtii,  given  at  Venice,  1727 ;  Meta- 
morfosi  amorosi,  ib.,  1732  ;  H  pastor  fido, 
ib.,  1739.— Fetis  ;  Schilling. 

APOLLO  AND  DAPHNE.     See  Dafne. 

APOLLO  ET  HYACINTHUS,  Latin  com- 
ed}',  music  by  IMozart,  represented  in  the 
Aula  of  the  University  of  Salzburg,  May  13, 
1767.  Mozart,  who  was  then  but  eleven 
years  old,  played  the  harpsichord  at  the 
performance.  The  MS.  of  the  music,  which 
is  written  for  five  voices,  covers  one  hun- 
dred and  sixty-two  jjages. 

APOLLON,  BERGER  D'ADM^TE 
(Apollo,  Shepherd  of  Admetus),  opera  in 
one  act,  music  by  Grenet,  represented  at 
the  Opera,  Paris,  1759.  The  same  episode, 
the  story  of  the  god  tending  the  flocks  of  Ad- 
metus at  Pherse  in  Thessaly,  on  the  banks 
of  the  Amphrysus,  is  treated  in  Apollo  in 
Tessaglia  (Apollo  in  Thessaly),  music  by 
Francescliini,  Bologna,  1679  ;  Apollo  unter 
den  Hirten  (Apollo  among  the  Shepherds), 
German  Liederspiel,  music  by  Schweitzer, 
Germany,  1778  ;  do.,  German  opera,  music 
by  Stegmann,  Konigsberg,  1775. 


APOLLON  ET  CORONIS  (Apollo  and 
Coronis),  French  opera-ballet,  text  by  Fuze- 
lier,  music  by  Jean  Baptiste  Rey,  repre- 
sented at  the  Academic  Roj-ale  de  Musique, 
Paris,  May  3,  1781.  The  libretto  deals  with 
the  loves  of  Apollo  and  Coronis,  who  became 
by  him  the  mother  of  JSsculapius,  and  who 
was  finally  slain  by  him  through  jealou.sy. 

APOLLONI,  GIOVANNI,  Cavaliere,  born 
at  Arezzo  about  1650.  Dramatic  composer, 
author  of  three  operas  :  Dori,  ossia  lo  schi- 
avo  regio,  given  in  Rome  about  1680  ;  L'  Ar- 
gia,  in  the  theatres  of  Italy,  about  1682  ; 
L'  Astiage,  ib.,  about  1683. — Fetis. 

APOLLONI,  GIUSEPPE,  born  at  Vi- 
cenza,  contemporary.  Dramatic  composer. 
Works  :  L'  Ebi'eo,  opera  seria,  given  first 
probably  at  Venice,  1855  or  1856,  then  on 
aU  the  principal  stages  of  Italy  ;  Pietro 
d'  Albano,  Venice,  1856  ;  Adelchi,  ib.,  1857  ; 
II  Conte  di  Konigsberg,  Florence,  Teatro 
della  Pergola,  1866  ;  Gustavo  Wasa,  Trieste, 
Teatro  Communale,  1872.- — Fetis,  Supple- 
ment, i.  18. 

APOSTEL  VON  PHILIPPI,  DIE,  orato- 
rio, for  unaccompanied  male  voices,  text  by 
Giesebrecht,  music  by  Karl  Loewe,  op.  48, 
first  performed  at  the  music  festival  in  Jena, 
Aug.  13,  1835. 

APPEL,  KARL,  born  at  Dessau,  March 
14,  1812.  Violinist,  pupil  of  Conzertmeis- 
ter  Lindner  on  the  violin,  and  of  Friedrich 
Schneider  in  theory  and  composition  ;  early 
entered  the  ducal  orchestra  as  violinist,  and 
succeeded  his  master  as  Conzertmeister. 
Among  his  vocal  music,  the  quartets  for 
male  voices  are  especially  liked.  He  also 
wrote  an  opera.  Die  Rauberbraut,  which 
was  performed  at  Dessau,  1840. — Mendel. 

AQUIN,    D'.     See  Daquin. 

ARABESKE  (Arabesque),  the  title  given 
by  Robert  Schumann  to  a  piece  for  the 
pianoforte,  op.  18,  written  somewhat  in 
rondo  form.  Composed  in  1839,  dedicated 
to  Frau  F.  Serre  ;  published  by  C.  A.  Spina 
(Vienna). 

ARABI  NELLE  GALLIE,  GLI  (The 
Arabs  in  Gaul),  opera  in  four  acts,  libretto 


61 


AEAJA 


from  the  romance  by  D'Arliucoiirt,  entitled 
"Le  renegat"  (The  Renegade),  music  by 
Giovanni  Pacini ;  first  represented  at  Milan 
in  1827,  then  at  Turin,  Dec.  2G,  1828,  and  in 
Paris,  at  the  Theatre  Itaheu,  with  seven 
new  numbers,  Jan.  30,  1855.  Pacini  him- 
self superintended  the  representations  in 
Paris,  where  the  opera  was  given  under 
the  new  title,  L'  ultiuio  de'  Clodovei.  It 
was  first  given  in  New  York,  at  the  Opera 
House  in  Church  Street,  Jan.  20,  1834.  The 
action  passes  in  Gaul  in  the  time  of  Charles 
Martel.  Clodomir,  formerly  affianced  to 
Ezilda,  Priucesse  des  Cevennes,  has  em- 
braced the  part  of  the  Arabs,  or  Saracens, 
and  under  the  name  of  Agobar  is  devastat- 
ing his  native  country.  Leodato,  general 
of  Charles  Martel,  is  overcome  and  is  about 
to  lose  his  life,  when  Ezilda  comes  out  of  a 
monastery,  where  she  had  taken  refuge,  and 
implores  clemency  for  Leodato,  who  had 
previously  made  to  her  an  avowal  of  his 
love.  She  recognizes  iu  Agobar  her  old 
lover,  the  two  renew  their  love,  and  the 
Saracen  leader  orders  his  troops  to  stop  the 
pillage,  and  to  i-espect  the  country  of  his 
mistress.  The  soldiers  murmur  and  form 
a  plot  against  Agobar,  and,  notwithstanding 
the  warning  of  the  generous  Leodato,  he  is 
kUled,  and  EzUda,  casting  herself  on  his 
dead  body,  makes  known  that  he  is  Clo- 
domir, her  affianced.  Pacini's  best  work. 
The  duet  in  the  third  act,  between  Agobar 
and  Ezilda,  "  Va,  menzogner,"  is  its  most 
noted  number.  Gli  Arabi  nelle  Gallie, 
opera  semi-seria,  music  by  Schoberlechuer, 
Florence,  1815,  has  a  different  libretto, 
older  than  D'Arlincourt's  romance,  which 
was  not  published  until  1822. 

ARAJA,  FRANCESCO,  born  at  Naples 
in  1700,  died  at  Bologna  about  1770.  Dra- 
matic composer,  attracted  attention  with 
his  first  opera  in  1730,  went  to  St.  Peters- 
burg with  a  troupe  of  Italian  singers  in 
1735,  and  became  conductor  of  the  orches- 
tra at  the  Italian  opera  there.  Highly  es- 
teemed and  distinguished  in  many  ways 
for  twenty-three  years,  he  returned  to  Italy 


in  1759,  and  settled  in  Bologna,  where  he 
was  made  honorary  member  of  the  Accade- 
mia  Filarmonica,  and  gathered  around  him 
a  circle  of  young  artists,  mostly  without 
means,  who  praised  him  as  their  teacher 
and  benefactor.  In  1761  he  visited  Russia 
again,  but  returned  to  Bologna  in  the  year 
following,  after  the  assassination  of  Peter 
HI.  He  is  said  to  have  been  the  first  to 
compose  an  opera  (1755)  in  the  Russian 
language.  Works :  Berenice,  given  at  a 
chateau  of  the  Grand  Duke  of  Tuscany,  near 
Florence,  1730  ;  Amor  regnante,  Rome, 
1731 ;  Lucio  Vero,  Venice,  Teatro  di  S.  Gio- 
vanni Crisostomo,  1735  ;  Abiatare,  St.  Pe- 
tersburg, 1737 ;  Semiramide,  ib.,  1738 ; 
Scipione,  ib.,  1739  ;  Alessandro  nell'  Indie, 
ib.,  about  1740  ;  Ai-sace,  ib.,  1741  ;  La  Rus- 
sia afiiittae  riconsolata,  Moscow,  1742;  Bel- 
lerofonte,  St.  Petersburg,  about  1743  ;  Se- 
leuco,  ib.,  1744  ;  Cephalus  and  Procris, 
Russian  opera,  ib.,  1755  ;  La  Cimotea,  lyric 
drama,  given  (at  Bologna?)  about  1765  ;  La 
uativita  di  Gesti,  oratorio. — Fetis  ;  Mendel ; 
Schilling. 

ARANAZ,  PEDRO,  born  at  Soria,  Spain, 
in  the  18th  century,  died,  at  an  advanced 
age,  at  Cuenca,  about  1825.  Church  com- 
poser, became  maestro  de  capilla  at  the 
Cathedral  of  Cuenca  towards  the  end  of 
the  18th  century.  His  music  is  preserved 
at  Cuenca,  in  the  Escorial,  and  in  several 
churches  of  Spain.  He  wrote  a  treatise  on 
counterpoint  and  composition,  esteemed  in 
his  countrj'. — Fetis. 

ARANGUREN,  JOSfi,  born  at  Bilbao, 
Spain,  May  25,  1821,  still  living,  1888. 
Pianist,  pupil  of  Nicolas  Ledesma  on  the 
pianoforte,  of  Fausto  Sanz  on  tlie  violin, 
then  in  Madrid  (1844-48)  of  Hilarion  Esla- 
va  in  composition.  He  began  teaching,  and 
in  18G7  became  adjiuict  professor  of  har- 
monj'  at  the  Conservatorio,  Madrid.  He 
has  composed  much  sacred  music,  piano- 
forte pieces,  and  songs,  and  published  in 
1855  a  method  for  the  pianoforte,  which 
has  had  five  editions,  and  in  1861  a  treatise 
on  harmony. — Fetis,  Supplement,  i.  19. 


ARAUXO 


AEAUXO  (Araujo),  FRANCISCO  COR- 
RfiA  DE,  born  iu  Spain  about  1581,  died 
at  Segovia,  Jan.  13,  1663.  A  Dominican 
monk,  at  first  organist  of  San  Salvador  at 
Seville,  then  professor  at  Salamanca,  and 
finally  Bishop  of  Segovia.  A  number  of 
his  compositions,  consisting  of  psalms,  mo- 
tets, and  vilhancicos,  formed  part  of  the  fa- 
mous musical  library  of  King  John  IV.  of 
Portugal,  as  did  also  his  treatise  :  Casos 
morales  de  la  mftsica. — Fetis  ;  do..  Supple- 
ment, i.  19. 

ARBACE  (Arbaces),  Italian  pasticcio, 
music  by  Handel,  performed  at  Coveut  Gar- 
den, London,  Jan.  5,  1734.  The  libretto  is 
an  adaptation  of  Metastasio's  Artaserse,  re- 
named after  one  of  the  principal  characters, 
and  the  music  consists  entirely  of  selections 
from  the  composer's  own  works.  The  score 
is  in  the  Hamburg  Library. — Rockstro,  Life 
of  H,  322. 

ARBAN,  JOSEPH  JEAN  BAPTISTE 
LAURENT,  born  in  Lyons,  Feb.  28,  1825, 
still  living,  1888.  Pupil  of  the  Paris  Con- 
servatoire ;  then  studied  under  Dauverne, 
and  took  the  second  prize  for  the  trumpet 
in  1844,  and  the  first  in  1845.  His  playing 
on  the  cornet-a-pistons,  which  had  just  come 
into  popular  favour,  was  considered  remark- 
able. He  i^layed  at  the  Concerts  Musard, 
and  afterwards  became  leader  at  the  Casino- 
Cadet,  at  the  Valentino,  Fraseati's,  and  at 
the  Opera  balls  after  Strauss's  retirement. 
In  1857  he  was  appointed  professor  of  the 
sax-horn  at  the  Conservatoire,  and  in  1869 
was  made  director  of  a  class  on  the  cornet. 
He  has  composed  a  great  deal  of  music  for 
his  insti'ument,  besides  Grande  Mi'thode 
complete  de  cornet-a-pistons  et  de  sax-horn 
(Paris). — Fetis,  Supplement,  i.  20  ;  Mendel, 
Ergilnz.,  15. 

ARBITRE  D'UNE  VIE.  See  iMuelle  de 
Portici. 

ARCADELT  (Archadelt,  Arcadet,  Harcha- 
delt,  Arkadelt),  JACOB,  born  in  the  Nether- 
lands towards  the  end  of  the  15th  century, 
died  in  Paris  (?),  15—.  The  story  that  he 
was  a  pupil  of  Joaquin  Depres  is  probably 


untrue.  In  1540  he  was  admitted  into  the 
Pontifical  Choir  at  Rome,  and  in  1555  (?) 
entered  the  service  of  the  Cardinal  Charles 
of  Lorraine,  Duke  of  Guise,  whom  he  fol- 
lowed to  Paris.  Arcadelt  was  one  of  the 
many  Flemish  composers  who  migrated  to 
Italy  ;  he  helped  to  found  the  "  great " 
Roman  school,  and  was  one  of  Palestrina's 
most  distinguished  forerunners.  He  united 
French  delicacy  of  sentiment,  Flemish  mas- 
tery of  musical  form,  and  Italian  culture  in 
quite  an  exceptional  way,  and  was  at  once 
one  of  the  most  important  and  prolific  com- 
posers of  his  day.  Together  with  AVillaert 
and  Verdelot,  he  was  one  of  the  founders  of 
the  madrigal.  His  first  book  of  53  madri- 
gals (Venice,  1538)  reached  its  sixteenth 
edition  in  1617,  and  was  followed  by  five 
other  books.  If  in  his  church  compositions 
Arcadelt's  style  is  of  almost  heroic  grandeur, 
and  shows  the  most  comj^lete  mastery  over 
all  the  intricacies  of  counterpoint  (albeit  he 
seems  to  have  despised  the  then  popular 
"  Netherlandish  tricks  "),  in  his  Italian  mad- 
rigals we  discover  perhaps  the  first  dawn 
of  the  sentimental  element  in  music.  His 
French  chansons,  on  the  other  hand,  are 
perfect  little  cabinet-pieces  of  contrapuntal 
elaborateness.  Notwithstanding  the  glori- 
ous musical  epoch  which  followed  close 
upon  his  death,  Arcadelt's  works  were  long 
looked  upon  with  the  greatest  veneration  ; 
Freseobaldi  wrote  an  organ  jsiece  on  a 
theme  "  del  Signore  Arcadelt,"  and  even 
Liszt  wrote  a  pianoforte  piiece  on  an  Ave 
Maria  of  his.  His  published  works  are  : 
Three  books  of  Masses  for  3,  4,  5,  and  7 
voices,  Paris,  Adrien  Le  Roy,  1557  (one 
book  of  these,  for  4  and  5  voices,  repub- 
lished, 4to,  in  1583)  ;  H  prirao  libro  de' 
madrigali  a  piu  voci,  Venice,  1538  (subse- 
quent editions  in  1539,  1540  [ib.,  Vincenzo 
Bianchi],  1541,  1542,  1545,  1550,  1.551, 
1552,  1556,  1560,  1568,  1581,  1603,  1606, 
1617) ;  II  secondo  libro  de'  madrigali,  etc., 
Venice,  Antonio  Gardane,  1539  ;  Four  other 
books  of  madrigals,  published  about  the 
same    period  ;    L'excellence   des    chansons 


63 


ARCAIS 


musicales,  Lyons,  1572  (2d  ed.,  4to,  ib., 
1587),  not  a  theoretical  work,  as  Forkel  and 
Licbtenthal  have  supposed,  but  a  book  of 
chansons  ;  Chansons  franyaises  :i  plusieurs 
parties,  Lyons,  158G.  Other  chansons  are 
in  Le  dixitme  de  chansons  a  quatre  par- 
ties compost'cs  par  phisieurs  auteurs, 
Paris,  Nicolas  Du  Cheniin,  1552,  and  in 
some  collections  published  by  Adrien  Le 
Roy  ;  also  in  Adriani  Wigliar,  Cypriani  de 
Rore,  Archadelt  et  Johannis  Gero,  cantiones 
trium  vocuni,  aliaque  madrigalia  trisona  di- 
versorum  auctorum,  Venice,  1565.  (Title 
and  date,  from  Ambros,  not  found  in  Eit- 
ner's  Bibliography,  which,  however,  men- 
tions a  collection,  jiublished  by  Scotto,  Ven- 
ice, 1566,  bearing  the  same  title  in  Italian.) 
Also  an  Ave  Maria,  London,  Musical  Times, 
No.  183,  and  an  8-voice  Pater  noster,  Com- 
mer,  "Collectio,"  viij.  21.  Three  sacred 
pieces  are  in  the  collection  "Piissimse  ac 
sacratissimse  lamentationes,  etc.,"  Paris,  Ad- 
rien Le  Roy,  15 — ,  and  three  others  in  "  Can- 
ticum  B.  V.  IMaripe  quod  Magnificat  inscrib- 
itur  octo  modis,  etc.,"  ib.,  15 — .  Some  four- 
and  five-voice  motets  are  in  Forster's  col- 
lection.— Ambros,  iii.  576 ;  Grove,  i.  81. 

ARCAIS,  FRANCESCO,  Marchese  D', 
born  in  Italy  about  1830,  still  living,  1888. 
Dramatic  composer,  and  musical  critic  of 
the  most  conservative  stamp,  extending  liis 
opposition  to  everything  modern,  even  to 
Gounod's  Faust.  Works  :  I  due  precettori, 
opera  buffa,  given  about  1863  ;  Sganarel- 
lo,  do.,  Milan,  Teatro  Re,  1871 ;  La  guerra 
amorosa,  Florence. — Fetis,  Supplement,  i. 
20. 

ARCHAMBEAU,  JEAN  MICHEL  D', 
born  at  Herve,  Belgium,  March  3,  1823, 
still  living,  1888.  Organist,  first  instructed 
by  his  father,  then  pupil  of  GofBn  and  of 
Joseph  Massart,  and  studied  harmony'  and 
counterpoint  from  the  treatises  of  Cheru- 
bini,  Catel,  and  Fi'-tis.  When  scarcely  fif- 
teen years  old,  he  became  instructor  of 
music  at  the  college  of  his  native  city,  and 
ten  years  later  organist  at  Petit-Rechain. 
Works  :  2  masses  for  three   men's  voices, 


with  organ  ;  12  litanies  ;  7  motets  ;  Ro- 
mances without  words,  for  pianoforte,  etc. 
He  has  also  composed  an  operetta,  which 
was  given  at  Lit'ge,  Theatre  du  Gymnase, 
1859.  His  brother  Edouard  (born  at  Herve, 
Dec.  8,  1834),  is  a  pianist,  and  has  published 
several  compositions  for  his  instrument. — 
Fetis,  Supplement,  i.  21. 

ARCHER,  FREDERIC,  born  of  English 
parentage,  Oxford,  England,  June  16,  1838, 
still  living,  1888.  Organist,  pupil  of  his 
father.  In  1847  he  became  a  chorister  at 
Margaret  Chapel  (now  All  Saints'  Chm-ch), 
London,  and  about  five  years  later  organist 
of  St.  Clement's,  Oxford,  and  then  of  Mer- 
ton  College,  holding  both  appointments. 
After  travelling  on  the  Continent  he  was 
appointed  organist  of  the  Panopticon, 
now  the  Alhambra  Theatre,  and  in  1862 
gave  weekly  recitals  on  the  great  organ 
at  the  Universal  Exhibition,  in  London. 
In  1863,  in  association  with  Julius  Bene- 
dict, he  directed  the  concerts  of  the  Vocal 
Association  ;  in  1865  became  organist  and 
choirmaster  of  Christ  Church,  Lancaster 
Gate,  London  ;  then  of  the  Church  of  the 
Jesuit  Fatliers,  Farm  Street,  until  1873, 
when  he  accepted  a  similar  position  at 
Alexandra  Palace,  which  was  shortly  after 
burned.  In  1875,  when  the  new  Palace 
was  completed,  he  resumed  his  position, 
and  gave  more  than  2,000  recitals  on  the 
great  organ,  without  repeating  a  programme. 
In  1877  he  was  given  the  entire  musical  di- 
rection of  Alexandra  Palace,  and,  besides 
the  organ  recitals,  conducted  the  orchestral 
concerts  and  the  English  opera  in  the  thea- 
tre. In  1879  he  became  musical  examiner 
in  the  University  of  Glasgow  ;  and  in  1880 
formed  an  English  opera  comj)any,  which 
ga^ve  performances  in  the  chief  cities  of  Eng- 
land. He  visited  America  in  1881,  23layed 
in  many  of  the  principal  cities,  and,  after  a 
short  visit  to  Loudon,  became  organist  of 
Plymouth  Church,  Brooklyn,  and  subse- 
quently of  the  Church  of  the  Incarnation, 
New  York,  during  which  he  gave  a  series 
of    ninety   organ    concerts   in    Chickering 


ARDEMANIO 


Hall.  In  1885  he  founded  and  edited  The 
Keynote,  a  musical  journal,  and  in  1887 
became  conductor  of  the  Boston  Oratorio 
Society,  and  removed  to  that  city,  where  he 
still  resides.  Works  :  Adagio  maestoso  for 
organ ;  Fugue  in  D  minor,  id. ;  Grand  fan- 
tasia in  F,  id. ;  Andantes  in  D,  F,  and  A, 
id.  ;  Concert  variations,  id.  ;  Jlarche  triom- 
phale,  id.  ;  12  pieces,  id.  ;  2  gavottes  in  D 
and  E-flat,  for  pianoforte  ;  Polka  de  sa- 
lon, id.  ;  3  impromptus,  id.  ;  King  Witlaf's 
Drinking-horn  ;  Songs,  part-songs,  etc.  He 
is  the  author  also  of  "The  Organ,"  a  theo- 
retical treatise,  with  original  exercises  and 
compositions  ;  and  of  "  The  Collegiate  Or- 
gan Tutor"  (London,  n.  d.). 

ARDEMANIO,  GIULIO  CESARE,  born 
(?),  died  in  Milan  in  1650.  Maestro  di  cap- 
pella  and  organist  of  the  churches  S.  M. 
della  Scala  and  S.  Fedele.  His  composi- 
tions were  held  in  high  esteem  long  after 
his  death.  Among  them  are  :  Motetti 
(Milan,  1616)  ;  Faux-Bourdons  (ib.,  1618)  ; 
JIusica  a  pin  voei  con  basso  per  I'organo 
(ib.,  1628).— Fctis  ;  Schilling. 

ARDITI,  LUIGI,  born  at  Crescentino, 
Piedmont,  July  16, 
18  2  5.  Dramatic 
composer  and  vio- 
linist, puj)il,  in 
18.36-42,  at  the 
Conservatorio,  Mil- 
an. In  1843  he 
made  his  debut  as 
director  of  the  op- 
era  at  Vercelli, 
where  he  was  made 
honorary  member 
of  the  Accademia  Filarmonica.  With  Bot- 
tesini  he  visited  Havana  in  1846,  and  then 
Boston,  Philadelphia,  and  New  York,  where 
he  conducted  the  opera  at  the  opening  of 
the  Academy  of  Music,  Oct.  2,  18.54.  In 
1856  he  visited  Constantinople,  and  in  18.58 
settled  in  London  as  conductor  at  Her 
Majesty's  Theatre.  He  afterwards  travelled 
with  an  Italian  company  through  the  prin- 
cipal German  cities,  and  conducted  Italian 


^^r'/\K: 


opera  at  St.  Petersburg  in  the  winter  of 
1871-73,  and  at  Vienna  each  spring  after 
1870.  Works  :  I  briganti,  opera,  given  at 
the  Conservatorio,  Milan,  1841  ;  II  corsaro, 
do.,  Havana,  about  1846  ;  La  spia,  do.,  New 
York,  1856  ;  Overture  (1840) ;  do.,  and  Sou- 
venir de  Donizetti  (1842)  ;  Commemoration 
ode,  given  at  the  Crystal  Palace,  June  10, 
1873,  and  II  Bacio,  vocal  waltz  ;  L'  Ardita, 
do.  He  has  also  written  violin  music,  con- 
sisting of  arrangements  from  operas,  or 
American  songs. — Fetis,  Supplement,  i.  21  ; 
Mendel ;  Yapereau,  1880. 

ARDITI,  MICHELE,  Marchese,  born 
at  Presicca,  Naples,  Sept.  29,  1745,  died  in 
Naj)les,  April  23,  1838.  Amateur  dramatic 
comjjoser,  pupil  of  Jommelli.  In  1807  he 
became  director-general  of  the  Museo  Re- 
ale  Borbonico.  "Works  :  Olimpiade,  opera ; 
Sacred  and  secular  cantatas ;  Motets  ;  Sym- 
phonies ;  Overtures  ;  Sonatas  for  piano- 
forte ;  Arias  with  orchestra  or  pianoforte. 
— Fctis. 

ARDORE,    Principe  D'.     See  Milano. 

ARENA,  GIUSEPPE,  born  in  Naples  (?) 
at  the  beginning  of  the  18th  century.  Di-a- 
matic  composer,  very  popular  in  his  time. 
Works — Operas  :  Aehille  in  Sciro,  given  in 
Rome,  1738  ;  Tigrane,  Venice,  1741  ;  Ales- 
sandro  in  Persia,  London,  1741 ;  Farnace, 
Rome,  1742.  He  left  in  manuscript  :  Prin- 
cipj  per  cembalo  o  organo. — Fetis. 

ARENS,  FRANZ  XAVIER,  born,  of  Ger- 
man parentage,  on  the  banks  of  the  Moselle, 
Germany,  Oct.  28,  1856,  stiU  living,  1888. 
Organist,  pupil  on  the  j)ianoforte  and  organ 
of  his  father.  When  fifteen  years  old  he  be- 
came organist  and  choirmaster  in  a  small 
town  near  Cleveland,  Ohio  ;  after  finishing 
the  normal  school  course  at  St.  Francis, 
near  Milwaukee,  where  he  studied  the  or- 
gan, the  violin,  and  harmony  and  singing, 
he  took  charge  of  a  church  choir  in  Mil- 
waukee, at  the  same  time  continuing  his 
lessons  in  counterpoint  with  Prof.  Singen- 
berger  of  the  St.  Francis  Normal  School. 
After  acting  as  musical  director  of  Canisius 
College,  Buffalo,  N.  Y.,  three  years,  he  went 


65 


AEETINUS 


to  Europe,  where  lie  studied  for  two  years 
in  Munich,  counterpoint,  instrumentation, 
and  tlie  organ  with  Rheinberger,  conduct- 
ing under  Abel,  and  in  Dresden  coinjjosition 
under  Wiillner,  the  pianoforte  and  organ 
under  Jannseu,  and  score-reading  under 
Kirchner.  Upon  his  return  to  America  he 
took  the  conductorshijJ  of  the  Cleveland  Ge- 
sang  Verein  and  of  the  Cleveland  Philhar- 
monic Orchestra,  but  resigned  the  latter 
position  in  1887.  He  has  also  been  organ- 
ist in  one  of  the  churches  of  that  city  since 
188G.  Works  :  Prelude  and  Fugue  for  or- 
gan, 1883  ;  The  Troubadour,  for  solo,  cho- 
rus, and  oreliestra  ;  Salve  Eegina,  for  mixed 
chorus,  1884  ;  String  quartet  in  A  minor, 
produced  in  Dresden,  1884  ;  Symphonic 
Fantasia,  Indianapolis,  1887  ;  Slumber 
sweetlj',  song  ;  Other  songs,  and  music  for 
mixed  chorus. 

ARETINUS,  PAULUS,  Italian  church 
composer  of  the  16th  century.  He  is 
known  bj'  the  following  works,  preserved 
in  the  royal  library  at  ]M\inich  :  Sacra  re- 
sponsoria,  turn  natali  Domini,  etc.  Respon- 
soria  hebdomadse  sanct?e,  etc.  (Venice,  1547) ; 
(ib.,  1544) ;  Libro  primo  delli  raadrigali 
cromatici  (ib.,  1549). — Fetis  ;  Mendel. 

ARGENTILLY,  CARLO  D',  born  prob- 
ably in  Picardy,  France,  contemjDorary  of 
Arcadelt,  and,  like  him,  singer  and  com- 
poser in  the  Pontifical  Chapel,  in  the  first 
half  of  the  ICth  century.  Some  of  his 
works,  bearing  the  date  of  1543,  are  pre- 
served in  the  library  of  the  Vatican,  and 
justify  the  high  estimation  in  which  they 
were  held  in  his  time. — Schilling. 

ARGINE,  CONSTANTINO  DALL',  born 
at  Parma,  May  12,  1842,  died  in  Milan, 
March  1,  1877.  Dramatic  composer,  au- 
thor of  operas  and  ballets  given  in  Italy. 

ARIA  DELLA  CALUNNIA.  See  .Bar- 
hiere  di  Siviglia. 

ARIADNE,  Italian  opera,  text  by  Paolo 
Rolli.  music  by  Porpora,  represented  at  the 
Lincoln's  Inn  Fields  Theatre,  London,  Dec. 
29,  1733.  This  was  one  of  the  operas  put 
upon  the  stage  by  Handel's  rivals,  who  pre- 


tentiously called  their  enterprise  the  "Op- 
I  era  of  the  Nobility."     Porpora  directed  the 
performance  in  person. — Rockstro,  Handel, 
189. 

ARIANNA  (Ariadne),  Italian  opera  seria, 
text  by  Einuccini,  music  by  Claudio  Monte- 
verde,  represented  in  Mantua,  1607,  to  cele- 
brate the  marriage  of  Francesco  di  Gonzaga, 
son  of  the  Duke,  with  Margherita,  Infanta 
of  Savoy.  The  success  of  this  work,  written 
in  competition  with  Gagliauo's  Dafne,  which 
was  produced  at  the  same  time,  was  unprec- 
edented. It  is  said  that  the  audience  was 
moved  to  tears  during  the  performance  of 
the  scene  in  which  Ariadne  laments  the  de- 
jjarture  of  her  faithless  lover,  the  only  part 
of  the  work,  excepting  a  few  passages  of 
recitative,  now  presei-ved  to  us ;  and  that 
the  composer's  power  was  similarly  shown 
on  the  reproduction  of  the  opera  in  Venice, 
thirty  years  later.  The  story  of  the  deser- 
tion of  the  unfortunate  daughter  of  Minos 
by  Theseus  and  her  subsequent  finding  and 
marriage  by  Bacchus  has  also  inspired 
many  other  musicians:  Ariadne,  music  by 
Niccolo  Porpora,  Loudon,  1733  ;  Ai-iana,  mu- 
sic by  Feo,  Rome,  1728  ;  music  by  Bene- 
detto Ferrari,  Venice,  1640  ;  Arianna,  music 
by  Handel,  London,  1734  ;  music  by  Adol- 
fati,  Genoa,  1750 :  Ariane,  opera  in  five 
acts,  text  by  the  Abbe  Perrin,  music  by 
Cambert,  London,  1667  ;  opera-ballet,  music 
by  Batistin,  Versailles,  about  1717  ;  scene 
lyrique,  music  by  Jean  Baptiste  Rochefort, 
Paris,  1785 ;  Ariadne,  music  by  Conradi, 
Hamburg,  1691  ;  music  by  Keiser,  Ham- 
burg, 1722  ;  Ariana  abbandonata  (Ariadne 
Abandoned),  music  by  Boniventi,  Venice, 
1719  ;  Aiiana  e  Bacco  (Ariadne  and  Bac- 
chus), music  by  Tarchi,  Turin,  1785  ;  Ariane 
et  Bacchus,  opera  in  five  acts,  text  by  Saint- 
Jean,  music  by  Marais,  Paris,  March  8,  1696 ; 
do.,  music  by  Bouvard,  represented  at  the 
Court  of  France,  1729  ;  do.,  ballet,  music 
by  J.  B.  Rochefort,  Paris,  1793  ;  Bacchus 
und  Ariadne,  ballet,  music  by  Thaddeus 
Weigh  about  1800  ;  Nozze  d'  Arianna  e  di 
Bacco   (Nuptials  of  Ai-iadne  and  Bacchus), 


ARIANNA 


music  by  Holzbauer,  Vienna,  about  1780  ; 
Ariiichie  auf  Naxos,  melodrama,  music  by 
George  Benda,  Gotlia,  about  1769  ;  ojjera, 
music  by  Bernhard  Klein,  Berlin,  1825 ; 
opera  in  two  acts,  music  by  Mme  Paradies, 
Vienna,  1791 ;  drama,  text  by  Tb.  Krebs, 
music  by  Max  Selfriz,  Lihvensberg,  18G1  ; 
Ariane  dans  File  de  Naxos,  opera  in  one  act, 
text  by  Moline,  music  by  Edelmaun,  Paris, 
1782  ;  Ai-iane  et  Thesee  (Ariadne  and  The- 
seus), opera  in  five  acts,  text  by  Lagrange- 
Chancel  and  Roy,  music  by  Mouret,  Paris, 
1717  ;  Ariana  e  Teseo,  Italian  opera,  music 
by  Niccolo  Porpora,  Vienna,  1714  ;  by  Caf- 
faro,  Najiles,  1766  ;  by  Piscbietti,  Dresden, 
1769  ;  by  Peter  von  Winter,  Vienna,  about 
1796  ;  by  Benvenuti,  Pisa,  1810 ;  Trionfo 
d'  Ariana  (Triumph  of  Ariadne),  music  by 
Anfossi,  Prague,  about  1784  ;  by  Righini, 
Berlin,  1795. 

ARIANNA,  Italian  opera,  text  by  Francis 
Colman,  music  by  Handel,  first  represented 
at  the  King's  Theatre,  London,  Jan.  26, 
1734  The  score  is  dated  Oct.  5,  1733. 
The  part  of  Theseus  was  magnificently  sus- 
tained by  Giovanni  Carestini,  an  artificial 
contralto  brought  from  Italy  by  Handel  to 
take  the  place  of  Senesino,  who  had  de- 
serted him  to  join  the  rival  company  at  the 
Lincoln's  Inn  Fields  Theatre.  The  opei-a  con- 
tains some  very  dramatic  situations,  and  the 
minuet  in  the  first  scene  was  long  poijular. — 
Rockstro,  Handel,  189  ;  Crysander,  ii.  334. 
ARIANNA  A  NAXOS,  cantata  for  voice 
with  pianoforte,  by  Josef  Haydn,  composed 
in  Vienna,  1790.  Consisting  of  a  recita- 
tive :  Teseo  mio  ben,  and  the  aria :  Dove  sei, 
mio  bel  tesoro.  This  vocal  seena  describes 
the  moment  of  the  myth  when  Ariadne, 
awaking  on  the  rocky  shore,  espies  the  ship 
of  Theseus  sailing  away  in  the  distance.  It 
is  a  highly  dramatic  scena,  calling,  however, 
for  an  orchestral  accompaniment,  which 
was  supplied  afterwards  (1809)  by  Kapell- 
meister G.  Abraham  Schneider  in  Berlin. 
— Pohl,  ii.  237,  358. 

ARIENZO,    NICOLA    D',   born    in    Na- 
ples, Dec.  24,   1843.     Dramatic  composer, 

67 


pupil  of  Pietro  Labriola  on  the  pianoforte 
and  of  Vincenzo  Fioravanti,  Moretti,  and 
Mercadante  in  harmony  and  counterpoint. 
He  made  his  debut  at  the  age  of  sixteen  by 
producing  an  opei'a  buffii,  in  Neapolitan 
patois,  played  in  a  trio  of  his  own  compo- 
sition at  the  Bouamici  concert  in  1864, 
became  professor  of  harmony  and  com- 
position at  r  Albergo  de'  Poveri,  and  at  the 
College  of  San  Pietro  a  Majella,  Naples. 
His  four  nocturnes  for  two,  three,  and  four 
voices,  won  the  second  prize  of  the  Societa 
del  Quartetto,  Milan,  in  1869.  Works— 
Operas  :  Monzii  Gnazio  o  La  fidauzata  del 
Perucchiere  (opera  bufta  in  Neapolitan  dia- 
lect), given  at  Naples,  Teatro  Nuovo,  1860  ; 
I  due  mariti,  ib.,  Teatro  Bellini,  1866  ;  Le 
rose,  ib.,  1868  ;  II  cacciatore  delle  Alpi,  ib., 
1870  ;  n  cuoco,  ib.,  Teatro  Rossini,  1873  ; 
I  viaggi,  Milan,  Teatro  Castelli,  1875  ;  La 
figlia  del  diavolo,  Naples,  Teatro  Bellini, 
1879  ;  I  tre  coscritti,  ib. ,  Albergo  de'  Po- 
veri, 1880  ;  Pensiero  sinfouico,  performed 
in  Rome,  1871 ;  H  Cristo  sulla  croce,  can- 
tata ;  several  overtures,  and  much  vocal 
music.  —  Fi'tis,  Supplt^ment,  i.  22  ;  Rie- 
mann  ;  Vapereau  ( 1880). 

ARIOBANT  (Ital.,  Ariodante),  lyrical 
drama  in  three  acts,  text  by  Hoffmann,  sub- 
ject from  the  "  Orlando  Furioso  "  of  Ariosto, 
music  by  Mehul ;  first  rej)resented  at  the 
Theatre  "^Favart,  Paris,  Oct.  11,  1799.  It 
was  the  composer's  favourite  opera,  but, 
though  containing  many  dramatic  beauties, 
was  not  very  successful.  Some  of  its  airs 
were  long  popular,  especially  the  romance  : 
"  Femme  sensible,  entends-tu  le  ramage?"; 
the  duet  of  Ariodant  and  lua,  "Dissi- 
pons  ce  sombre  nuage  ; "  and  the  air  of 
Dalinda,  "  Calmez,  calmez  cette  colere." 
Other  operas  on  same  subject  :  Ariodante, 
Italian  opera,  music  by  Giovaiini  jMaria 
Costa,  Genoa,  1655  ;  music  by  Pollarolo, 
Venice,  1716  ;  music  by  Bioni,  Bi-eslau, 
1727  ;  music  by  Handel,  London,  Jan.  8, 
1735. 

.\RION,  lyric  tragedy  in  five  acts,  text  by 
Fuzelier,  music  by  Matho,  represented  at 


ARIOSTI 


the  Academie  Eoyale  de  Musique,  Paris,  i  1693  ;  Dafue,  Venice,  1686  (pub.  1696)  ; 
April  10,  1711.  Subject,  the  story  of  Ai-ion  1  Erifile,  ib.,  1697  ;  La  festa  d'  Imenei,  near 
the  Greek  bard. 


AEIOSTI,    ATTILIO,    boru   in 
about    1660, 


Berlin,  1700;  Atys,  Liitzenburg,  1700;  La 
Bologna ,  madre    de'   Maccabei,    Venice,    1701 ;    Na- 


died  (?). 
A  Dominican  monk, 
who,  under  a  papal 
dispensation,  gave  up 
his  ecclesiastical  pro- 
fession to  follow  that 
of  music,  which  art  he 
had  studied  from 
youth  up.  With  the 
exception  of  one  ora- 
torio and  a  few  cantatas,  he  wrote  only 
for  the  stage.  His  first  opera,  Dafne  (text 
by  Apostolo  Zeno)  was  brought  out  with 
fail-  success  at  Venice  in  1686.  Besides  be- 
ing a  composer  of  great  merit,  he  was  a 
clever  performer  on  the  violoncello  and  the 
viol  d'  amore.  In  1690  he  was  made  either 
private  composer  or  maestro  di  cappella  to 
the  Electress  of  Brandenburg,  which  post 
he  held  until  1716.  During  this  period  he 
probably  left  Berlin  twice,  once  on  a  visit 
to  Italy,  and  once  to  Austria.     He  first  api 


bucodonosor,  Vienna,  1706  ;  La  piti  gloriosa 
fatica  d'  Ercole,  Bologna,  1706  ;  Amor  tra 
Nemici,  Vienna,  1708  ;  Ciro,  London,  1721 ; 
1st  act  of  Muzio  Scevola,  ib.,  1721  ;  Co- 
riolano,  ib.,  1723  ;  Vespasien,  ib.,  1721 ;  Ar- 
taserse,  ib.,  1721 ;  Dario,  ib.,  1725  ;  Lucio 
Vero,  ib.,  1726  ;  Teuzzone,  ib.,  1727  ;  Vol- 
ume of  cantatas,  and  a  collection  of  lessons 
for  the  viol  d'  amore,  ib.,  1728. — Grove,  i. 
83  ;  Hogarth,  ii.  21. 

ARIOVISTO  (Ariovistus),  Italian  opera, 
music  by  Ballarotti,  in  collaboration  with 
Perti  and  Paolo  Magni,  represented  at  the 
ducal  theatre  in  Milan,  1699.  Subject,  the 
famous  German  chief,  whose  invasion  of 
Gaul  was  checked  by  Caesar  at  Vesoutio 
(Besan(;on),  b.c.  58.  Another,  same  subject, 
music  by  Mancini,  Naples,  1702. 

AEKADELT.     See  Arcadelt. 

ARLESIENNE,  L',  melodrama  in  three 
acts  and  five  tableaux  with  entr'actes  and 
choruses,  text  by  Alphonse  Daudet,  music 


peared  in   London  at   the  performance  of  |  by  Georges  Bizet,  represented  at  the  Thea- 


Handel's  Amadis,  in  which  he  played  a  solo 
for  the  viol  d'  amore.  In  1720  the  directors 
of  the  opera  engaged  him,  together  with 
Handel  and  Bononcini,  to  write  for  their 
theatre.  The  first  opera  given  was  Muzio 
Scevola,  written  by  all  three  composers  in 
collaboration,  the  first  act  being  by  Ariosti. 
But  Handel's  genius  finally  threw  his  two 
rivals  into  the  shade,  and  at  the  close  of  the 
season  of  1727  Bononcini  and  Ariosti  were 
dismissed.      In   1728  Ariosti  quitted  Eng- 


tre  du  Vaudeville,  Paris,  Sept.  30,  1872. 
Frederi,  a  young  peasant  of  the  Camarge, 
is  in  love  vsdth  a  maiden  of  Aries  (I'Arle- 
sienne),  said  to  be  very  beautiful,  but  who 
does  not  ajjpear  on  the  stage.  When  about 
to  marry  her,  she  is  proved  to  be  unworthy 
and  he  loses  his  reason.  His  mother,  who 
wishes  him  to  marry  a  charming  young  girl 
who  loves  him,  is  coldly  repelled  by  him, 
and  at  last,  in  despair,  gives  her  consent  to 
his  union  with  the  Ailcsienne  ;  but  it  is  too 


land,  and  nothing  is  known  of  his  subse- 1  late,  and  he  commits  suicide  by  throwing 
quent  life.     Fetis's  story  that,  previous  to  !  himself  from  a  tower  before  her  eyes. 


his  departure,  he  published  a  volume  of  can- 
tatas by  subscription,  realizing  £1,000,  may 
or  may  not  be  true  ;  at  any  rate,  he  was  mis- 
erably poor  at  the  time.  He  was  a  man  of 
talent  and  great  cleverness  rather  than  of 
genius.  The  list  of  his  works,  with  date 
of  first  performance  and  publication,  is  :  Sta. 
Eadegonda,    Eegina   di    Francia,    oratorio. 


AEMES,  PHILIP,  born  in  Norwich,  Eng- 
land, Aug.  15,  1836,  still  living,  1888.  Or- 
ganist ;  chorister  in  Norwich  Cathedral  in 
1816-18,  and  in  Rochester  Cathedral  1818- 
51 ;  articled  pupil  of  Dr.  John  Larkin  Hop- 
kins at  Rochester,  1850-55  ;  was  organist  of 
Trinity  Church,  Milton,  Gravesend,  in  1855- 
57,  of  St.  Andrew's,  Wells  Street,  London, 


68 


ARM  IDE 


in  1857-61,  of  Chichester  Catbedraliu  1861- 
02,  and  of  Durham  Cathedral  since  1862 
Mus.  Bac,  Oxford, 
1858  ;  Mus.  Doc,  ib., 
1864  ;  degrees  also 
from  University  of 
Durham,  1863,  1864. 
Works  :  Hezekiali, 
oratorio,  jierformed  at 
Worcester  Festival, 
1878  ;  St.  John  the 
Evangelist,  do.,  York 
Festival,  1881;  Com- 
munion Services  in 
A ;  do.  in  B-flat ;  Te 
Deum  ;  Morning  and 
G  ;  Antliems  ;  Chants 

ARMIDE,  gi-and  heroic  opera  in  five  acts, 
te-xt  by  Quinault,  music  by  Gluck,  repre- 


Evening  Service  in 
Hvmns,  etc. 


Mara  as   Armide, 

sented  at  the  Academic  Royale  de  Musique, 
Paris,  Sept.  23,  1777.  Subject  from  the 
"Gerusalemme  Liberata"  of  Tasso.  Though 
produced  at  the  height  of  the  quarrel  be- 
tween the  Gluckists  and  the  Piccinnists, 
this  work  won  an  enthusiastic  success.  In 
it  the  composer  continued  the  musical  revo- 
lution, begun  in  Alceste,  of  subordinating 
the  singing  to  the  ti'uth  of  dramatic  expres- 
sion. The  airs,  "On  s'etonnerait  moins  que 
la  saison  nouvelle,"  and  "  Ah  !  si  la  liber- 
ie me  doit  etre  ravie,"  are  still  classic,  and 


the  minuet  and  the  gavotte  in  it  were  long 
popular.  Among  the  best  interpreters  of 
Armide  was  Gertrude  Elizabeth  Mara,  one 
of  the  most  famous  singers  of  the  last  cen- 
tury.^Marx,  Gluck,  ii.  184  ;  Hanslick,  Gluck 
u.  d.  Oper,  9. 

ARMIDE    ET    RENAUD    (Armida    and 
Rinaldo),  lyric  tragedy  in  five  acts,  text  by 
Quinault,  subject  from  the  "  Gerusalemme 
Liberata '"  of  Tasso,  music  by  Jean  Baptiste 
Lulli,  first  represented  at  the  Opera,  Paris, 
Feb.    15,   1680.     This  was   Quinault's   last 
and  best  libretto ;  and  Lulli's  most  popular 
score  ;  it  had  an  unprecedented  success  and 
was  applauded  for  nearly  half  a  centurj-. 
Several  of  the  airs,  such  as  "La  chaine  de 
I'hymen  m'otonne,"  and  the  recitative,  "Le 
perfide  Renaud  me  fuit,"  still  survive  in  the 
classic  repertory.      The  same  subject   has 
been  treated  also  by  Rampini,  Venice,  1711 ; 
by  Graun,  text  from  Quinault,  Berlin,  1751  ; 
by   Traetta,    Vienna,    1760  ;   by   Jomnielli, 
Naples,  1771  ;  in  three  acts,  by  Salieri,  Vi- 
enna, 1771 ;  by  Sacchini,  Milan,  1772  ;  by 
Nauniann,  Padua,  1773  ;  by  Astaritta,  1777  ; 
by   Gazzaniga,    Italy,    1777  ;   by   Rauzzini, 
London,  1778  ;  by  Winter,  Munich,  1778  ; 
by  INIortellari,  Milan,  1778  ;  by  Mysliweczek, 
about  1780  ;  by  Bertoni,  Venice,  1781  ;  in 
three  acts,   by  Cherubini,   Florence,  1782 ; 
by  Anfossi,  London,  1782  ;  by  F.  J.  Haydn, 
Esterhaz,  1784  ;  by  Zingarelli,  Rome,  1786  ; 
by  J.  Mosca,  Florence,  1799  ;  two  acts,  text 
by  Soltellini,  music  by  Eighini,  Aschaften- 
btirg,  1788,  Berlin,  1799  ;  by  Rossini,  Na- 
ples,   1817,    in   which    he   began    bis    sec- 
ond manner  ;  Armida  abbandonata  (Armida 
Abandoned),  Italian  opera,  by  Giovanni  Rug- 
gieri,   Venice,    1710  ;   by  Buini,    Florence, 
1723,    also   as   Armida   delusa   (Deceived), 
Venice,  1720;  by  Prati,  Munich,  1785;  Ar- 
mida  al  campo    (in  the   Camp),  by  Boni- 
venti,  Venice,  1717  ;  by  Bioni,  Breslau,  1720  ; 
Armida  al  campo  d'  Egitto  (in  the  Egyptian 
Camp),  by  Vivaldi,  Venice,   1718  ;  by  Giu- 
seppe Bertoni,  Venice,  1781  ;  Armida  im- 
maginaria   (Imaginary),   Cimarosa,    Naples, 
1778  ;  Armida  placata  (Appeased),  music  by 


ARMINGAUD 


Giambattista  ]\Iele,  Madrid,  1750  ;  Avmida, 
Eegina  di  Damaso  (Queeu  of  Damascus), 
Oi-giani,  Verona,  1711  ;  Armide  la  Magi- 
cienue  (the  Magician),  bj-  F.  Gliiser,  Vieuua, 
1828  ;  n  trioufo  d'  Arniida  (Triumpli  of 
Armida),  by  Albinoni,  Venice,  1726  ;  Die 
Zauberin  Armide  (Armida  the  Enchantress), 
by  Gliiser,  Vienna,  1828  ;  Riualdo,  by  Tozzi, 
Brunswick,    1775  ;   by   Guglielmi,    Venice, 

1789  ;  music  by  Handel,  Loudon,  1711 ; 
Einaldo  e  Armida,  by  Eccles,  London, 
1698  ;  Rinald,  German  opera,  by  Hilffner, 
Stockholm,  1792  ;  Rinald  und  Armide,  by 
Rheineck,  1779  ;    by  Zumsteeg,   Stuttgart, 

1790  ;  by  von  Paradies,  Prague,  1797  ;  Ri- 
nald im  Zauberwald  (Rinaldo  in  the  En- 
chanted Wood),  ballet,  by  Apell,  Cassel, 
1782. 

ARMINGAUD,  JULES,  born  at  Ba- 
yonue,  May  3,  1820,  still  living,  1888.  Vio- 
linist, studied  in  his  native  city.  He  went 
to  Paris  in  1839  to  perfect  himself  at  the 
Conservatoire,  but  was  not  admitted  as  be- 
ing too  far  advanced,  and  has  since  then 
been  a  member  of  the  orchestra  of  the 
Opera.  Works :  Fantaisie,  for  violin  and 
pianoforte,  op.  8  (Paris,  Brand  us)  ;  Sere- 
nade for  do.,  op.  9  (ib.,  Meissonier) ;  Grande 
fantaisie  on  Zampa,  for  do.,  op.  10  (ib.)  ; 
Vilanelle,  op.  11  (ib.)  ;  Andante  and  Scher- 
zo, op.  13  (Paris,  Richault)  ;  Fantaisie  et 
variations,  for  violin  and  orchestra,  op.  14 
(ib.)  ;  Souvenir  de  Vasconie,  for  do.,  op.  15 
(ib.) ;  etc. — Fetis  ;  do..  Supplement,  i.  22. 

ARlVnNIUS  (Ital.,  Arminio ;  Ger.,  Ar- 
min  or  Hermann),  the  German  chief  of  the 
Cherusci,  who  defeated  the  legions  of  Varus 
in  the  Teutoberger  forest  and  freed  his 
country  from  the  Roman  yoke,  is  the  sub- 
ject of  many  operas.  Arminio,  Italian  op- 
era, music  by  Pollarolo,  Pratolino,  1703, 
Venice,  1722  ;  by  Steffaui,  Hanover,  1707  ; 
in  three  acts,  by  Scarlatti,  Venice,  1714 ;  by 
Johann  Adolph  Hasse,  Milan,  1731,  Dres- 
den, 1745  ;  by  Handel,  London,  Jan.  12, 
1737  ;  by  Galuppi,  Italy,  1747 ;  by  Gioac- 
chino  Cocchi,  Rome,  1749  ;  by  Ottani,  Tu- 
rin, 1781  ;  by  Tritto,   Rome,   1786  ;  opera 


scria  in  three  acts,  music  by  Tarchi,  Man- 
tua, 1786 ;  by  Bianchi,  Florence,  1790  ;  by 
Pavesi,  Venice,  1821  ;  Armiuius,  French  op- 
era, music  by  Mehul,  1794  (not  represented) ; 
Armin,  German  opera  in  four  acts,  text  by 
Felix  Dahn,  music  by  Heinrich  Hofmann, 
Dresden,  Oct.  14,  1877,  Berlin,  Nov.  14, 
1877,  with  the  tenor  Niemann  in  the  princi- 
pal role. 

ARMINIUS,  secular  oratorio,  text  by  J. 
Clippers  (English  translation  by  Mrs.  Natalia 
Macfarreu),  music  by  Max  Bruch,  op.  43, 
l^erformed  at  Ziirich,  1877  ;  at  Boston,  Mass., 
at  the  sixth  triennial  festival  of  the  Handel 
and  Haydn  Society,  in  the  Music  Hall, 
INIay  4, 1883,  under  the  composer's  direction. 
Solos  by  Miss  Emily  Winant,  Charles  R. 
Adams,  and  Georg  Henschel. 

ARMOURER  OF  NANTES,  THE,  Eng- 
lish opera  in  three  acts,  text  by  J.  V.  Bridg- 
man,  founded  on  Victor  Hugo's  "  Marie 
Tudor,"  music  by  Balfe  ;  represented  at 
Coveut  Garden,  London,  Feb.  12,  1863. 
Sung  by  Harrison,  Sautley,  Weiss,  Corri, 
Miss  Pyne,  and  Miss  Hiles. — Barrett,  Balfe, 
247. 

AEMSDORFF,  ANDREAS,  born  at 
Miihlberg,  near  Gotha,  Sei^t.  9,  1670,  died 
at  Erfurt,  Dec.  31,  1699.  Composer  of 
church  and  chamber  music,  and  organist  in 
several  churches  of  Erfurt.  Only  a  few  of 
his  numerous  compositions  have  been  pub- 
lished.— Fetis  ;  Mendel ;  Schilling. 

ARNAUD,  fiTIENNE,  born  at  Marseil- 
les, March  16,  1807,  died  there  in  January, 
1863.  Vocal  composer,  pupil  of  Plantade 
at  the  Paris  Conservatoire.  He  has  pub- 
lished more  than  two  hundred  romances, 
most  of  which  obtained  considerable  suc- 
cess.— Fetis. 

ARNE,  ]\nCHAEL,  Ijorn  in  London 
in  1741,  died  at  South  Lambeth,  Jan.  14, 
1786  .  Dramatic  composer  ;  son  of  Thomas 
Augustine  Arne.  He  early  showed  a  talent 
for  music,  being  al)le  to  plaj'  on  the  harpsi- 
chord with  gi-eat  correctness,  wlien  only  ten 
j'ears  old,  the  lessons  of  Scarlatti  and  Han- 
del, and  later  exhibited  great  facility  in  the 


70 


ARNE 


composition  of  songs  aucl  dramatic  pieces. 
In  "  The  Flow'ret,  a  New  Collection  of 
Euglisli  Songs,  by  Master  Arne,"  is  a  song 
called  the  Highland  Laddie,  written  at  the 
age  of  thirteen,  which  was  adapted  by  Liu- 
ley  in  1755  to  "Ah,  sure  a  pair  were  never 
seen,"  in  Sheridan's  opera,  The  Duenna. 
After  devoting  several  years  to  chemistry  in 
search  for  the  philosopher's  stone,  he  turned 
to  composition  again,  and  wrote  for  Rane- 
lagh,  Covent  Garden,  and  Vauxhall.  He 
•was  director  of  music  at  the  Dublin  The- 
atre in  1779,  and  of  the  Lenten  Orato- 
rios at  London  theatres  in  1781  and  later. 
Works— Operas  :  Alcmena  (with  Battishill), 
The  Fay's  Tale,  given  in  London,  Drury 
Lane,  1761;  Cymon,  ib.,  1767;  The  Fa- 
thers, ib.,  1778 ;  The  Belle's  Stratagem,  ib., 
1780;  The  Choice  of  Harlequin,  ib.,  1781; 
The  Positive  Man,  ib.,  1782  ;  Tristram 
Shandy,  ib.,  1783. — Grove  ;  Hogarth,  Mus. 
Drama,  ii.  102. 

ARNE,  THOMAS  AUGUSTINE,  born 
in  London,  March 
12  [May  2  8?] 
1710,  died  there, 
March  5,  1778. 
The  son  of  an  up- 
holsterer in  King 
Street,  Covent  Gar- 
den ;  he  was  edu- 
cated at  Eton,  and 
then  studied  three 
j-ears  in  a  solici- 
tor's office,  but  his 
bent  for  music  was  stronger  than  his  love 
for  the  law,  and  he  at  last  persuaded  his 
jjarents  to  let  him  give  up  the  latter  for  the 
former.  He  studied  the  violin  under  Fest- 
ing,  and  also  took  lessons  on  the  spinet  and 
in  composition.  He  was  the  singing  teach- 
er of  his  sistei',  Susanna  Maria,  who,  after 
a  short  career  as  an  opera-singer,  became 
famous  as  an  actress  and  the  wife  of  Colley 
Gibber.  Arne's  first  opera  was  a  resetting 
of  Addison's  "Rosamond,"  which  he  made 
for  his  sister,  and  in  which  she  appeared  at 
the  Lhicoln's  Inn  Fields  Theatre,  March  7, 


1733.  In  1736  he  married  Cecilia,  eldest 
(laughter  of  Charles  Young,  organist  of  All- 
hallows,  Barking,  a  brilliant  singer  who  was 
famous  in  Handel's  operas.  In  1742  he 
went  with  his  wife  to  Dublin,  where  he 
stayed  until  1741.  On  his  return  to  Lou- 
don he  was  engaged  as  composer  at  Drury 
Lane,  and  became  conductor  of  the  orches- 
tra there  after  Gordon's  death.  In  1745  he 
was  engaged  as  composer  to  Vauxhall  Gar- 
dens, a  post  which  he  held  for  many  years, 
writing  a  host  of  songs  for  the  Gardens,  as 
well  as  for  Ranelagh  and  Marjdebone  Gar- 
dens. On  March  12,  1755,  was  produced 
his  first  oratorio,  Abel.  On  July  G,  1750, 
the  University  of  Oxford  conferred  upon 
him  the  degree  of  Mus.  Doc.  In  1762 
he  produced  Artaxerxes,  an  opera  in  the 
Italian  style,  with  recitative  instead  of  spo- 
ken dialogue,  and  the  text  of  which  he 
himself  translated  from  Metastasio's  Arla- 
serse.  The  part  of  Mundane,  famous  for  its 
florid  writing,  was  written  for  and  sung  by 
his  pupil.  Miss  Brent.  This,  which  held 
the  stage  for  more  than  seventy-five  years, 
has  been  accounted  his  best  work.  His 
second  oratorio,  Judith,  was  represented 
on  Feb.  29,  1764.  At  a  performance  of 
this  work  at  Covent  Garden  Theatre,  Feb. 
26,  1773,  Dr.  Arue  first  introduced  women's 
voices  into  oratorio  choruses.  In  1765  he 
brought  out  his  only  Italian  opera,  a  setting 
of  Metastasio's  OJimpiadf,  but  without  suc- 
cess. His  last  dramatic  work  was  the  mu- 
sic to  Mason's  Caractacus,  1776.  Besides 
his  operas,  he  wrote  a  vast  amount  of  other 
vocal  music,  glees,  canons,  catches  (seven 
of  which  won  prizes  at  the  Catch  Club), 
and  a  good  deal  of  instrumental  music. 
He  was  buried  in  St.  Paul's,  Covent  Gar- 
den. His  wife  outlived  him  about  seven- 
teen years.  Dr.  Arne  has  been  called  the 
greatest  English  composer  of  the  18th 
century.  His  melodic  stj'le  was  elegant 
and  brilliant  ;  he  imitated  neither  Lulli, 
Purcell,  nor  Handel,  as  most  of  his  contem- 
poraries did,  but  his  melodies  often  suggest 
at  once  the  Italian  manner  and  the  flavour 


AENEIKO 


of  Scotch  songs.  His  failure  in  Italian 
opera  is  probably  attributable  to  this  field's 
beiug  so  stroDgly  occupied  by  Haudel  and 
BoDoucini.  His  oratorios  are,  iu  geueral, 
weaker  than  bis  operas,  the  choruses  esj)e- 
cially  bearing  no  comparison  with  those  of 
the  great  oratorio  eomi^osers  of  his  day  ; 
yet  he  was  the  first  composer  to  introduce 
female  voices  into  oratorio  choruses  in  Eng- 
land. Much  of  his  incidental  music  to 
Shakespeare's  plays  has  become  standard, 
and  the  air  Rule  Britannia,  the  finale  of 
his  music  to  Thomson  and  Mallet's  masque 
"Alfred,"  written  in  1740  to  commemorate 
the  anniversary  of  the  accession  of  the 
House  of  Hanover,  Aug.  14th,  is  world  fa- 
mous. Works — Operas,  etc.  :  Rosamond, 
given  at  Drury  Lane,  Loudon,  1733  ;  The 
Opera  of  Operas  ;  or,  Tom  Thumb  the 
Great,  Haymarket,  ib.,  1733  ;  Dido  and 
iEneas,  1734 ;  The  Fall  of  Phaeton,  1736  ; 
Music  to  Zara,  1730  ;  Comus,  1738  ;  Judg- 
ment of  Paris,  1740  ;  Alfred,  1740  ;  Songs 
iu  Twelfth  Night,  1741  ;  Blind  Beggar 
of  Bethnal  Green,  1741  ;  Songs  in  The 
Merchant  of  Venice,  1742  ;  Britannia,  1743  ; 
Eliza,  1743  ;  Thomas  and  Sally,  1743  ; 
The  Temple  of  Duhiess,  1745  ;  King 
Pepin's  Camj^aigu,  174.5  ;  Music  to  the 
Tempest,  1746 ;  Neptune  and  Amphitrite, 
1746  ;  Don  Saverio,  1749  ;  Dirge  in  Ro- 
meo and  Juliet,  1750  ;  The  Prophetess, 
1759  ;  The  Sultan,  1759;  Aiiaj-er.res,  1762  ; 
Love  iu  a  Village  (compilation),  1762  ; 
Birth  of  Hercules  (not  represented),  1763  ; 
The  Guardian  Outwitted,  1764  ;  Olimpiade 
(Italian),  1765  ;  The  Ladies'  Frolic,  1770  ; 
Additions  to  Purcell's  King  Arthur,  1770 ; 
The  Fairy  Prince,  1771 ;  The  Cooper,  1772  ; 
Choruses  in  Mason's  Elfrida,  1772;  The 
Kose,  1773  ;  Contest  of  Beauty  and  Virtue, 
1773  ;  Achilles  in  Petticoats,  1773  ;  May 
Day,  1775  ;  Phoebe  at  Court,  1776  ;  Music 
to  Mason's  Caractacus,  1776  ;  Songs  in  The 
Tender  Husband,  The  Rehearsal,  The  Rival 
Queens,  and  other  plays.  Oratorios  :  Abel, 
1755  ;  Jifdith,  1764.  Collections  of  songs 
under  the  following  titles  :  Lvric  Harniouv, 


The  Agreeable  Musical  Choice,  Summer 
Amusement,  Winter's  Amusements,  The  Sy- 
ren ;  Vocal  Melody,  1753  ;  The  Vocal  Grove, 
1774 ;  and  nearly  twenty  other  books  of 
songs.  Glees,  Catches,  Canons,  etc. :  12 
glees,  10  catches,  6  canons,  printed  iu  War- 
ren's Collections;  Ode  on  Shakespeare,  writ- 
ten by  Garrick  for  the  Shakespeare  Jubilee 
at  Stratford-on-Avon,  1 769 ;  Sonatas  or  les- 
sons for  the  harjjsichord  ;  Organ  concertos ; 
Overtiu-es  for  orchestra,  etc. — Grove  ;  Ho- 
garth, ii.  65  ;  Buruey,  iv.  6 —  ;  Dwight's 
Journal,  xiii.  205. 

ARNEIRO,  (JOSfi  AUGUSTO)  FER- 
REIRA  VEIGA,  Vicomte  D',  born  at  Ma- 
cao, China,  Nov.  22,  1838,  still  living,  1888. 
Dramatic  composer,  of  a  family  distinguished 
in  the  musical  cu-cles  of  Lisbon.  He  studied 
law  at  the  University  of  Coimbra,  but  from 
1859  to  1862  studied  harmony  under  Manoel 
Joaquim  Botelho,  counterj)oiut  and  fugue 
under  Vicente  Schira,  and  the  pianoforte  un- 
der Antonio  Jose  Soares.  He  began  com- 
posing orchestra  music,  entr'actes,  and  other 
pieces,  and  produced  a  ballet,  Ginu,  at  the 
Teatro  San  Carlos,  Lisbon,  iu  1866.  He 
wrote  a  great  deal  of  church  music.  His 
jirineipal  work,  a  Te  Deum,  performed  at 
St.  Paul's,  Lisbon,  in  1871,  was  afterwards 
brought  out  iu  Paris  as  a  symphonie  can- 
tata. Works  :  Scherzo  in  E-flat ;  Polonaise 
de  Concert ;  Refrains  du  Priutemps,  a  col- 
lection of  characteristic  pieces  ;  Elisire  di 
giovinezza,  opera,  Lisbon,  1876,  Milan,  1877. 
— Fetis,  Sujjplemeut,  i.  23  ;  Naumann  (Ouse- 
ley),  ii.  1265  ;  Rieniann,  Lex. 

ARNOLD,  GEORG,  born  at  Weldsberg, 
in  the  Tyrol,  lived  about  the  middle  of  the 
17th  century.  He  was  organist  at  Inns- 
bruck, and  later  of  the  cathedral  at  Bam- 
berg. He  jiublished  the  following  works : 
Cantionum  sacrarum  de  tempore,  op.  1  ; 
Tres  Mottettos  de  Nomine  Jesu,  op.  2  ; 
Psalmi  de  Beata  Maria  Vergine,  etc.,  with 
violin  or  viola  (1652) ;  Cautiones  et  Sonettse 
(1659)  ;  Sacrarum  cantionum,  etc.  (1661) ; 
Psalmi  Vespertini ;  Tres  Missse  pro  defuuc- 
tis,  etc.  (1676) ;  Messarum  quatern.  cum  no- 


ARNOLD 


vem  vocibus,  i.  pars.  (1673) ;   id.,  ii.  pars. 
(1675).— Fetia,  3  ;  Schilling. 

ARNOLD,  GEORGE  BENJ^ykHN,  born 
at  Petworth,  Sussex, 
England,  Dec.  22, 1832, 
still  living,  1888.  Pupil 
of  S.  S.  Wesley  ;  Mas. 
Doc,  Oxford',  1861  ; 
was  organist  of  St.  Col- 
umba's  College,  1852, 
of  St.  Mary's  Chnrcli, 
Torquay,  1863,  of  Ne^v• 
College,  Oxford,  1860, 
of  Winchester  Cathe- 
dral, 18G5.  Works  :  Ahab,  oratorio,  Exeter 
Hall,  Loudon,  1863  ;  The  Second  Coming 
of  Our  Lord,  oratorio  ;  The  Song  of  David, 
cantata ;  Sennacherib,  do.,  Gloucester,  1883  ; 
The  Forty-third  Psalm  ;  Communion  Ser- 
vice ;  Te  Deums ;  Anthems  and  Motets ;  Con- 
certed vocal  music ;  Songs ;  Pianoforte  music. 

ARNOLD,  JOHANN  GOTTFRIED,  born 
at  Niederuhall,  Wiirtemberg,  Feb.  1,  1773, 
died  at  Frankfort,  July  26,  1806.  Violon- 
cellist, son  of  the  schoolmaster  of  Niedern- 
hall.  He  showed  such  taste  for  music  that 
his  father  apprenticed  him  from  1785  to 
1789  to  the  musical  director  of  the  town  of 
Kiinzelsau,  under  whom  he  devoted  himself 
to  the  violoncello.  In  1790  he  entered  on 
bis  first  engagement  at  Wertheim,  where 
his  uncle  Friedrich  Adam  Arnold  was  mu- 
sical director,  and  took  lessons  of  the  or- 
ganist Frankenstein  in  composition.  After 
concert  tours  in  Switzerland  and  Gei-many, 
where  he  played  his  own  concertos,  he 
studied  under  the  violoncellist  Willmanu 
at  Ratisbon  (1796),  and  later  visited  Berlin 
and  Hamburg,  where  he  studied  the  method 
and  style  of  Bernhard  Romberg.  He  be- 
came first  violonceUist  in  1798  at  the 
Frankfort  Theatre,  and  was  well  known  as 
a  teacher  and  composer.  Works ;  Five 
concertos  for  violoncello  ;  Symphonic  con- 
certante  for  two  flutes  and  orchestra  ;  Airs 
with  Variations,  op.  9  (Bonn) ;  Pieces  for  the 
guitar. — Allgem.  mus.  Zeitg.,  xii.  609  ;  Fe- 
tis;  Gerber,  Hist.  Lex.;  Schilling. 


ARNOLD,  KARL,  born  at  Neuenkircheu 
near  Mergentheim,  Wiirtemberg,  May  6, 
1794,  died  at  Christiania,  Nov.  11,  1873. 
Pianist,  sou  and  pupil  at  Frankfort  of  Jo- 
hann  Gottfried  Arnold,  then  pupil  at  Offen- 
bach of  Philipp  Karl  Hoffmann  and  Aloys 
Schmitt  on  the  pianoforte,  and  of  Vollweiler 
and  Anton  Andre  in  comjjosition.  After  a 
concert  tour  through  Germany  and  Poland, 
he  settled  in  1819  at  St.  Petersburg,  where 
he  was  in  great  demand  as  a  teacher,  but 
in  1824  removed  to  Berlin,  whence  he  was 
called  in  1835,  as  musical  director,  to  Miins- 
tei'.  In  1817  he  gave  concerts  at  St.  Pe- 
tersbui'g,  and  in  1849  became  director  of 
the  Philharmonic  Society,  and  organist  at 
Christiania.  His  music  is  refined,  and  full 
of  technical  difiiculties.  Works :  Sextet  with 
pianoforte ;  Sonatas  for  do.,  op.  3  and  5 
(Offenbach,  Andre) ;  Sonata  for  do.,  with 
clarinet  and  bass,  oj).  7  (ib.)  ;  Divertisse- 
ment for  do.,  Nos.  1  and  2,  op.  12  and  13 
(Berlin,  Schlesinger)  ;  Rondo  for  do.,  oj).  14 
(ib. )  ;  Variations  on  an  Original  Theme,  op. 
16  ;  Vive  Henri  IV.,  rondo  for  pianoforte 
and  violoncello  (Leipsic,  Peters) ;  Rondo- 
letto.  No.  4  ;  Concerto  for  pianoforte,  with 
orchestra,  op.  17  (Berlin,  Christiaui) ;  Valses 
favorites  (ib.,  Grochenschuetz)  ;  Rondo  for 
pianoforte  for  four  hands  (Offenbach,  An- 
dre) ;  Divertissements  for  pianoforte,  op.  13, 
14,  16,  24  ;  Fantaisies  et  variations,  op.  17, 
20  ;  Canticle  for  four  male  voices  (Bruns- 
wick, Sptihr)  ;  Quartet  for  two  violins,  viola, 
and  violoncello,  op.  19  (Leipsic,  Breitkopf  & 
Hiirtel)  ;  Thelephos,  opera,  given  at  Kuuigs- 
berg  about  1830  ;  Irene,  do.,  Berlin,  1832. 
— Fetis  ;  Mendel ;  Schilling. 

ARNOLD,  SAMUEL,  born  in  Lon<lon, 
Aug.  10,  1740,  died  there,  Oct.  22.  1802. 
Dramatic  composer  and  pupil  of  the  Chapel 
Royal  under  Bernard  Gates  and  Dr.  Nares. 
Before  he  was  twenty-three  years  old  he 
was  engaged  as  composer  to  the  Covent 
Garden  Theatre  ;  here  he  used,  with  great 
success,  concerted  music  to  carry  on  the 
business  of  the  stage.  In  1769  he  pur- 
chased   Maryleboue     Gardens,    where     he 


AKNOLD 


brought  out  original  burlettas,  performed 
by  the  best  singers  of  the  day  ;  but  he  ulti- 
mately lost  by 
the  speculation. 
In  1773  he  re- 
^^;°;-l    '*?S  #^Kk  ceived    the    de- 

gree of  M  u  s . 
Doe.  from  Ox- 
ford University. 
He  succeeded 
Dr.  Nares  as  or- 
ganist and  com- 
poser  to  the 
Chapel  Royal  in  1783  ;  established  the  Glee 
Club,  iu  conjunction  with  Callcott,  about 
1786  ;  became  conductor  of  the  Academy  of 
Ancient  Music  in  1789  ;  organist  of  West- 
minster Abbey  as  successor  to  Dr.  Cooke 
in  1793  ;  and  was  invited  to  conduct  the 
annual  performances  at  St.  Paul's  for  the 
benefit  of  Sons  of  the  Clergy  on  the  death 
of  Dr.  P.  Hayes  in  1796.  Between  1765 
and  1802  Dr.  Arnold  composed  oratorios, 
dramatic  pieces,  songs,  glees,  much  sacred 
music,  and  forty-three  operas  ;  after  1783 
published  a  continuation  of  Boyce's  Cathe- 
dral Music  (4  vols.) ;  in  1791,  with  the  as- 
sistance of  Dr.  Callcott,  a  book  entitled 
Psalms  of  David  ;  and  later,  an  Ode  for  the 
Anniversary  of  the  London  Hospital.  In 
1786  he  proposed  issuing  a  comj)lete  edi- 
tion of  Handel's  works,  but  only  succeeded 
in  bringing  out  168  numbers,  containing 
five  out  of  Handel's  forty-three  ojDeras. 
Works — Operas  :  Maid  of  the  Mill,  given 
in  London,  1765 ;  Eosamoud,  ib.,  1767 ; 
Portrait,  Mother  Shipton,  ib.,  1770  ;  Son- 
in-Law,  Summer  Amusement,  1779 ;  Fire 
and  Water,  Wedding  Night,  Silver  Tank- 
ard, 1780  ;  Dead  Alive,  1781  ;  Castle  of  An- 
dalusia, Harlequin  Teague,  1782 ;  Gretna 
Green,  1783  ;  Hunt  the  Slipper,  Two  to 
One,  Here,  There,  and  Everywhere,  1784  ; 
Turk  and  no  Turk,  Siege  of  Cuzzola,  1785  ; 
Iidde  and  Yarico,  1787  ;  Enraged  Musician, 
1788  ;  Battle  of  Hexham,  1789  ;  New  Spain, 
Basket  Maker,  1790  ;  Surrender  of  Calais, 
1791  ;  Harlequin  and  Faustus,  Children  in 


the  Wood,  1793;  Auld  Robin  Gray,  1794; 
Zorinski,  Mountaineers,  Who  Pays  the 
Reckoning,  Love  and  Mcjney,  1795  ;  Ban- 
nian  Day,  Shipwreck,  1796  ;  Italian  Monk, 
1797  ;  False  and  True,  Throw  Physic  to 
the  Dogs,  Cambro-Britons,  1798 ;  Obi,  or 
Three-tingered  Jack,  1800  ;  Review,  Cor- 
sair, Veteran  Tar,  1801 ;  Sixty-third  Letter, 
Fairies'  Revels,  1802.  Oratorios :  Cure  of 
Saul,  given  in  1767  ;  Abimelech,  1768  ;  Res- 
urrection ;  Elijah,  given  after  his  death,  in 
1810. — Barrett,  English  Church  Composers, 
144  ;  Fe tis  ;  Grove  ;  Hogarth,  Mus.  Drama, 
ii.  440  ;  Schilling. 

ARNOLD,  YOURIJ  VON,  born  in  St. 
Petersburg,  Nov.  1,  1811,  still  living,  1888. 
Dramatic  composer,  pujjil  o'f  Johaun  Leo- 
pold Fuehs,  after  having  been  an  army  offi- 
cer (1831-38) ;  then  entered  the  government 
civil  service.  In  1859  he  won  the  prize  of- 
fered by  the  St.  Petersburg  Philharmonic 
Society  for  the  best  ballad,  and  subsequently 
produced  two  opieras,  and  much  vocal  mu- 
sic ;  he  lectured  also  on  the  historj'  and 
theory  of  music  at  Moscow  and  St.  Peters- 
burg, and  made  himself  favourably  known 
as  a  musical  critic.  In  1863-68  he  lived  in 
the  latter  capacity  in  Leipsic,  and  in  1870 
became  professor  of  vocal  music  in  the  Mos- 
cow Conservatory.  Works  :  The  Gypsj', 
opera  ;  Swiitlana,  ballad  (1859,  prize)  ; 
Overtui'e  to  Boris  Godunov  ;  Oratorical 
Psalm  ;  Four-part  songs,  and  more  than  one 
hundred  songs. — Fetis,  Supijlement,  i.  24  ; 
Mendel ;  Riemann. 

ARNOULD  (Arnolt)  DE  BRUCK  (Brucq, 
Bruges,  Pruck,  Prug),  called  sometimes  Ar- 
noldus,  born  at  Bruges  about  1480,  died  in 
Vienna,  Sept.  22,  1536.  Vocal  composer, 
and  one  of  the  celebrated  musicians  of  his 
century.  Nothing  is  known  of  his  eai-ly 
life,  or  of  his  musical  education.  He  be- 
came Kapellmeister  to  Ferdinand  I.  of  Ger- 
many, as  appears  from  a  silver  medal  in  the 
Imperial  Museum  at  Vienna,  struck  in  his 
honour  in  1536.  Among  his  works,  which 
consist  of  motets,  hymns,  etc.,  are  several 
in    MS.    in    the    collection    of    the    Royal 


74 


ARNOISTI 


Library,  Miinieh.     Amoiif^  those  published 
are  :  The  motet,  Fortitudo  Dei,  iu  a  collec- 
tion at   Nuremberg    (1537)  ;   Two   motets, 
Pater  Noster  and  In  civitatem  Domini,  in 
the    second    part    of    the    same    collection 
(1538)  ;  Several  motets  in  a  collection  by 
Georg-    Porster    (Nuremberg,    1540)  ;   The 
hymns  Audi,  bonigne  Conditor,  Jesu  quad- 
ragenaripe,  Adcsto  nunc  Ecelesifc,  O  Crux, 
Ave,   in    the  Saerorum  Hymnorum,   lib.    i. 
(1542) ;  Several  motets  iu  the  collection  en- 
titled :  Quatuor  vocum  musiese  modul.,  lui- 
mero    2G,   etc.    (Antwerp,    1542).     He   also 
published  German  lieder  in  the  2d  i^art  of 
the  collection  by  Forster  entitled  :  Bin  Aus- 
zug  kurtzweiliger  guter  frischer  Liedlein  zu 
singen  (Nuremberg,  1540)  ;  and  chants  for 
schools,  in  the  collection  entitled  :  123  Newe 
geistliche  Gesiluge  mit  vier  und  fiintf  Stim- 
men,  etc.  (Wittenberg,  1544).— Biog.  nat.  de 
Belgique,  i.  4G6  ;  Fetis  ;   Mendel,  ii.   198  ; 
Winterfeld,   Der  evang.   Kirchengesang,   i. 
185. 

ARNONI,  GUGLIELMO,  born  at  Ber- 
gamo iu  1546.  Organist  of  Milan  Cathe- 
dral about  1580.  Works  :  Magnificat  for 
four,  five,  six,  seven,  and  eight  voices  (MUan, 
1595) ;  H  primo  libro  de'  madrigali  (Venice, 
1600)  ;  Three  books  of  motets  (ib.,  1602).— 
Fetis. 

AHQUIER,  JOSEPH,  born  at  Toulon, 
1763,  died  at  Bordeaux,  October,  1816. 
Dramatic  composer,  studied  music  at  Mar- 
seilles, and  in  1784  joined  the  orchestra  of 
the  theatre  at  Lyons  as  violoncellist.  Four 
years  after  he  was  at  Carcassonne,  went  in 
1789  to  Marseilles  to  lead  the  orchestra  at 
the  Tln'atre  du  Pavilion,  and  in  1790  to  Paris, 
where  he  filled  positions  at  some  of  the 
smaller  theatres.  About  1800  he  went  to 
New  Orleans  as  director  of  an  opera  troupe, 
but  returned  to  France  iu  1804,  resuming 
his  former  position  in  Paris  until  1807,  then 
teaching  music  at  Toulouse  until  1809,  when 
he  once  more  led  the  orchestra  at  the  Pavil- 
ion in  Marseilles  ;  in  1812  he  was  at  Perpig- 
nan,  again  at  Toulouse,  and  finally  retired 
to  Bordeaux   in   great   poverty.     Works- 


Operas  :  L'Indienue,  given  at  Carcassoune, 

1788  ;  Daphnis  et  Hortense,  Marseilles,  The- 
atre du  Pavilion,  17S9 ;  Le  pirate,  Toulon, 

1789  ;  Le  mari  corrige,  Paris,  Tlu'atre  Ly- 
rique  et  Comique,  about  1790  ;  La  peau  de 
I'ours,  comic  opera,  ib.,  Theatre  Moliere, 
about  1792  ;  Le  conge,  ib..  Theatre  Montan- 
sier,  about  1793 ;  Les  Peruviens, Tours,  1798  ; 
Les  deux  petits  troubadours,  comic  opera, 
Paris,  Theatre  des  Jeunes  Sieves,  1800  ; 
L'ermitage  des  Pyrenees,  do.,  ib.,  1805  ; 
L'hotellerie  de  Sarzanno,  do.,  ib..  Theatre 
Montansier,  1802  ;  Le  desert  on  I'oasi.s,  do.. 
New  Orleans,  about  1802  ;  La  fee  Urgele, 
do.,  Brest,  1804  ;  Monrose,  do.,  Marseilles, 
1809  ;  La  suite  du  medecin  turc,  do.,  ib. 
about  1810  ;  Zipea,  Perpignan,  about  1815. 
— Fetis. 

ARRESTI  (Aresti),  FLORIANO,  born  at 
Bologna,  second  half  of  the  17th  century, 
died  before  or  in  1719.  Dramatic  com- 
poser, and  organist  at  Bologna  Cathedral ; 
pupil  of  Bernardo  Pasquini  on  the  organ  ; 
member  of  the  Accademia  Filarmonica  in 
1G84.  Works — Operas  :  Inganno  si  vince, 
given  at  Bologna,  1710  ;  Enigma  disciolta, 
ib.,  1710  ;  CrLsii^ijo,  Ferrara,  1711  ;  Co.s- 
tanza  in  Cimento  colla  Crudelta,  Venice, 
1712  ;  II  Trionfo  di  Pallade  iu  Arcadia,  Bo- 
logna, 1710.— Fetis;  do.,  Supplement,  i.  25. 
ARRESTI,  GIULIO  CESARE,  boru  at 
Bologna  about  1630,  died  after  l(i94.  Or- 
ganist, pupil  of  Ottavio  Vernizzi,  whom  he 
succeeded  as  organist  at  S.  Petronio.  He 
was  one  of  the  first  members  of  the  Acca- 
demia Filarmonica,  founded  iu  1666,  and 
its  principe  three  times,  1671,  1686,  1694. 
Works  :  Messa  e  vespro  della  B.  V.  M.  a 
otto  voci  (Bologna) ;  Messa  a  tre  voci  con 
sinfonie  (ib.) ;  Salmi  cinque  a  quattro  voci 
(Venice,  1664)  ;  Gare  musicali,  salmi  a  cap- 
pella  a  quattro  voci. — Fetis. 

ARRIAGA  Y  BALZOLA,  JUAN  CRT- 
SOSTOMO  JACOBO  ANTONIO  D',  born 
at  Bilbao,  Spain,  Jan.  27,  1806,  died  at  Mar- 
seilles, February,  1825.  Violinist,  at  first 
self-taught  ;  composed  a  charming  Spanish 
opera  before  he  knew  the  rules  of  harmony. 


76 


ARRIETA 


At  the  age  of  tliii-teen  he  went  to  the  Con- 
servatoire, Paris,  to  study  the  violiu  under 
Baillot,  and  harmony  and  counterpohit  un- 
der Fetis.  His  progress,  Ft'tis  says,  was 
marvellous,  three  months  having  been  suf- 
ficient for  him  to  master  harmony,  and  at 
the  end  of  two  years  there  was  no  difficulty 
in  fugue  or  counterpoint  which  he  could  not 
overcome.  About  this  time  he  wrote  a  fugue 
for  eight  voices  to  the  words  of  the  Credo, 
Et  vitam  venturi,  which  was  prouoiuiced  a 
chef-d'oeuvre  by  Cherubini.  In  1824  he 
was  chosen  director  of  a  class  in  counter- 
point at  the  Conservatoire.  He  died  young, 
but  left  a  number  of  compositions,  among 
others,  a  work  of  three  quartets  for  the 
violin  (Paris,  18"24)  ;  An  overture,  a  sym- 
phony for  full  orchestra,  a  mass  for  four 
voices ;  a  Salve  Regina,  and  several  cantatas 
and  romances  which  remain  in  MS. — Fetis  ; 
Grove  ;  Riemann,  Lex. 

ARRIETA,  Don  JUAN  ElMILIO,  born 
at  Puente  la  Reina,  Navarre,  Spain,  Oct. 
21,  1823,  still  living,  1888.  Dramatic  com- 
poser ;  went  to  Italy  in  1838,  and  studied 
composition,  in  1842—15,  under  Vaccaj  at 
the  Conservatorio,  Milan,  where  he  brought 
out  Ildegonda,  his  first  opera,  but  met  with 
no  success.  He  returned  to  Madrid  in 
1848,  and  devoted  himself  to  the  compo- 
sition of  zarzuelas,  of  which  he  has  writ- 
ten about  forty,  and  operas.  He  comijosed 
a  cantata  for  the  inauguration  of  the  Zar- 
zuela  Theatre  in  185G,  and  a  cantata  dedi- 
cated to  Rossini  in  1864.  He  became  pro- 
fessor of  composition  at  the  Conservatorio 
of  Madrid  in  1857,  and  one  of  the  coun- 
sellors in  the  ministry  for  public  instruc- 
tion in  1875.  Director  of  the  Conserva- 
torio since  1877.  Works:  Ildegonda,  opera, 
given  at  Milan,  1846  ;  Isabel  la  Catulica  6 
sea  la  conquista  de  Granada,  do.,  Madrid, 
1850.  Zarzuelas  :  El  domino  azul.  El  gru- 
mete,  ib.,  1853  ;  La  vuelta  del  Corsario,  Ma- 
rina, ib.,  1855 ;  La  estrella  de  Madrid,  De 
tal  palo  tal  astilla,  El  hombre  feliz  (mono- 
logue), El  sonambulo,  ib.,  1856  ;  Guerra  a 
muerte  ;  La  dama  del  rey  ;  Un  ayo  para  el 


nino,  1864-65  ;  A  cadenas  pei-pt'-tua  ;  El 
coujuro  (with  Lojsez  de  Ayala),  ib.,  1866  ; 
Un  sarao  y  una  soiree,  ib.,  1866 ;  Quien 
manda,  manda  ;  Llamada  y  tropa  ;  Azon 
Visconti ;  Cadenas  de  oro  ;  Dos  coronas  ; 
El  cautivo  en  Argel  ;  El  cajjifan  negrero  ; 
El  agente  de  matrimonios  ;  El  caudillo  de 
Baza  ;  El  planeta  Venus  ;  El  toque  de  ani- 
mas  ;  La  insula  Barataria  ;  La  carceria  real ; 
La  suegra  del  Diablo,  ib.,  1867  ;  La  taber- 
nera  de  Londres  ;  Los  Circasianos  ;  Un 
trouo  y  un  desengafio  ;  El  motin  contra 
Esquilache.  Cantata  for  the  inauguration 
of  the  Teatro  de  la  Zarzuela,  1856  ;  Cantata 
to  Rossini,  1864. — Fetis,  Supjslemeut,  i.  25; 
Mendel,  Ergiinz.,  16. 

ARRIGO  TEDESCO.  See  Isaac,  Hein- 
rich. 

ARRIGONI,  CARLO,  born  in  Florence 
about  1708,  died,  probably  in  Tuscany,  about 
1743.  Clever  lutenist,  maestro  di  cappella 
to  the  Prince  of  Carignan.  He  is  said  by 
Fetis  to  have  been  engaged  with  Porpora 
as  composer  to  the  theatre  started  in  oppo- 
sition to  Handel  at  Lincoln's  Inn  in  1734, 
and  to  have  brought  out  an  unsuccessful 
opera  called  Fernando  ;  but  there  is  no 
proof  of  it,  although  bis  Cantate  di  Camera 
was  j^ublished  in  London  in  1732.  Burnej' 
claims,  in  his  Commemoration,  that  Arri- 
goni  is  intended  bv*  the  "  King  of  Aragon, " 
mentioned  as  one  of  Handel's  opponents  in 
Arbuthnot's  satire,  "  Harmony  in  an  Up- 
roar."  He  was  of  small  importance,  as  no 
mention  is  made  of  him  or  of  his  opera  in 
the  musical  writings  of  that  day.  His  ora- 
torio of  Esther  was  given  at  Vienna  in  1738. 
— Fetis  ;  Grove  ;  jNIendel. 

ARRIVEE  A  SAIS,  L'.  See  Eiifance 
du  Christ. 

ARRONGE,  ADOLPH  L',  born  at  Ham- 
biu-g,  Germany,  March  8,  1838,  still  living, 
1888.  Dramatic  composer,  pupil  of  Richard 
Gence,  then  at  the  Conservatorium,  Leipsic 
(1854^57),  of  Hauptmann,  Rietz,  and  Mo- 
scheles.  He  conducted  the  ojiera  at  the 
theatres  of  Konigsberg,  Cologne,  Wiirzburg^ 
Pesth,  and  Stuttgart,  then  in  Berlin,  where 


76 


ARSACE 


he  settled  in  1866,  at  KroU's  Theatre,  but  af- 
terwards devoted  himself  exclusively  to  the 
teaching  of  vocal  music,  and  conducting 
the  BerHn  Miuiuergesangverein.  Works  : 
Das  Gespenst ;  Der  zweite  Jakob,  and  other 
comic  operas  ;  Songs  ;  Part-songs. — Men- 
del. 

AESACE  (Arsaces),  Italian  opera,  music 
by  Gasparini,  represented  at  Venice,  1715  ; 
music  by  Sarri,  Venice,  1718 ;  music  by 
Fee,  Rome,  1731  ;  music  by  Giacomelli, 
Turin,  1736  ;  music  by  Araja,  St.  Peters- 
burg, 1741.  j 
ART  OF  FUGUE.  See  Kumt  der 
Fuge. 

AETASERSE  (Artaxerxes),  Italian  opera 
in  three  acts,  text  by  Metastasio,  music  by 
Leonardo  Vinci,  first  represented  at  the 
Teatro  delle  Damme,  Rome,  during  the  car- 
nival, 1730.  Scene  in  the  city  of  Susa. 
Characters  represented  :  Artaserse,  King  of 
Persia  and  lover  of  Semira  ;  Mandane,  sis- 
ter of  Artaserse  and  lover  of  Arbace  ;  Ar- 
tabauo,  prefect  of  the  royal  guard,  father 
of  Arbace  and  of  Semira  ;  Arbace,  friend  of 
Artaserse  and  lover  of  Mandane  ;  Semira, 
sister  of  Arbace  and  lover  of  Artaserse  ; 
]\Iegabise,  general  and  confidant  of  Artaba- 
no.  The  libretto  has  been  set  to  music 
also  by  Hasse,  Venice,  1730,  Dresden,  1740  ; 
Duni,  Italy,  1731 ;  Pampani,  Venice,  1737  ; 
Terradeglias,  Naples,  1737  ;  Ferandini,  Mu- 
nich, 1739 ;  Porta,  Munich,  1739  ;  Leo, 
Naples,  1740  ;  Gluck,  Milan,  1741 ;  Adol- 
fati,  Rome,  1742 ;  C.  H.  Graun,  Berlin, 
1743  ;  Abos,  Venice,  1746  ;  Jommelli, 
Rome,  1749  ;  Perez,  Lisbon,  1753  ;  Lam- 
pugnani,  1757  ;  Scolari,  Venice,  1758 ;  Ga- 
luppi,  Venice,  1762  ;  Majo,  Naples,  1762  ; 
Beruasconi,  Munich,  1763  ;  Scarlatti,  Vien- 
na, 1763  ;  Piiisiello,  Modena,  1765  ;  Fioril- 
lo,  Cassel.  1765  ;  Ponzo,  Venice,  1766  ;  Pic- 
cinni,  Turin,  1766  ;  Sacchini,  Rome,  1768  ; 
Vento,  London,  1771 ;  Giordani,  London, 
1772  ;  Piccinni  (new  music),  Naples,  1772  ; 
Caruso,  London,  1774  ;  Mysliweczek,  Na- 
ples, 1774  ;  Felice  Alessandri,  Naples,  1774  ; 
Guglielnii,  Italy,  about  1775  ;  Buroni,  Stutt- 


gart, 1776  ;  Borghi,  Venice,  1776  ;  Bertoni, 
London,  1780  ;  Cimarosa,  Turin,  1781  ; 
Alessandri,  Naples,  1784 ;  Rust,  Modena, 
1784  ;  Bertoni  (new  music),  Venice,  1786  ; 
Tarchi,  Mantua,  1787  ;  Bianchi,  Padua, 
1787  ;  Anfossi,  Rome,  1788  ;  Parenti,  Italy, 
about  1789  ;  Zingarelli,  Turin,  1794  ;  Nico- 
lo  Isouard,  Leghorn,  1795  ;  NiccoUui,  Ven- 
ice, 1795  ;  Artaxerce,  French  ojjera  in  three 
acts,  music  by  Lesueur,  1801,  not  repre- 
sented ;  Artaxerxes,  English  opera,  music 
by  Arne,  London,  1762  ;  Artaxerxes,  Ger- 
man opera,  by  Heinrich  Dorn,  Berlin,  1850. 
There  are  also  several  operas  of  the  same 
title  which  follow  an  older  text. 

ARTASERSE,  Italian  opera  in  three  acts. 


/- 


Farinelli. 

text  by  Metastasio,  mu.sic  by  Hasse,  repre- 
sented in  Venice,  1730,  and  Dresden,  1740. 
Composed  for  the  celebrated  singer  Faus- 
tina Bordoni,  whom  Hasse  had  married 
shortly  before.  It  was  in  this  opera  that 
the  famous  artificial  soprano.  Carlo  Broschi, 
called  Farinelli,  made  his  debut  in  London, 
in  the  King's  Theatre,  Oct.  29,  1734,  under 
the  auspices  of  Handel's  rivals  and  the  su- 
perintendence of  Porpora.  The  other  prin- 
cipal parts  were  supported  by  Senesino, 
Montagnana,  and  Signora  Cuzzoni.  With 
this  exceptional  cast,  the  opera  was  very 
successful  and  was  performed  more  than 
forty  times  in  three  years,  a  great  run  for 
that    period.      When    Farinelli    separated 


ARTAXERXES 


himself  from  the  world  of  art  by  his  ac- 
ceptance of  a  yearly  salary  of  50,000  francs 
from  Philip  V.  of  Spain,  who  heaped  all 
manner  of  honours  upon  him  in  addition, 
he  is  said  to  have  sung  nightly  to  the  ting 
for  ten  years  two  songs  from  Artaserse, 
"Pallido  il  sole  "  and  "Per  questo  dolce  am- 
plesso." 

ARTAXERXES,  English  grand  opera  in 
three  acts,  text  adapted  by  the  composer 
from  Metastasio,  music  by  Thomas  Augus- 
tine Arne,  first  represented  at  Covent  Gar- 
den Theatre,  Loudon,  Feb.  2,  17G2.  The 
libretto  is  a  jsoor  translation  of  the  original, 
and  the  music  is  in  the  Italian  style  of  the 


Elizabeth   BiMington. 


day,  the  dialogue  being  entirely  in  recita- 


several  operas :  Italian  oj)era,  music  by  Ca- 
valli,  rej)resented  at  Venice  in  1656,  and 
Paris,  1660,  under  the  title  of  Xerxes  ;  Ger- 
man opera,  music  by  Stiilzel,  Naumburg, 
1713  ;  music  bj'  Keiser,  Hamburg,  1715  ; 
Italian  opera,  music  by  Sarri,  Venice,  1731 ; 
in  three  acts,  music  by  Terradeglias,  Rome, 
about  174:1 ;  music  by  Johann  Adolp)li  Hasse, 
Dresden,  1754  ;  music  by  Reichardt,  Berlin, 
1787  ;  music  by  Cimarosa,  Venice,  1801. 
Cimarosa's  opera,  one  of  his  best  works,  was 
left  unfinished  at  his  death  in  Venice,  Jan. 
11,  1801. 

ARTHUR,  ALFRED,  born  of  American 
parentage  near  Pittsburgh,  Pennsylvania, 
Oct.  8,  1844,  still  living,  1888.  He  studied 
at  the  Music  School,  Boston,  singing  under 
B.  F.  Baker,  pianoforte  under  George  How- 
ard, and  brass  instruments  under  Matthew 
Arbuckle  and  Henry  Brown  ;  and  at  the 
Boston  Conservatory  harmony  and  compo- 
sition under  Julius  Eichberg.  After  singing 
tenor  in  the  Church  of  the  Advent,  Boston, 
two  years,  he  settled  in  1871  in  Cleveland, 
Ohio,  as  a  teacher  of  vocal  music  and  leader 
of  the  Germauia  Orchestra.  He  was  a 
member  for  a  few  months  of  the  choir  of 
Trinity  Church,  in  that  city,  and  later  of 
the  Euclid  Avenue  Baptist  Church,  where 
he  remained  until  1878,  when  he  formed 
the  Bach  Choir  of  the  Woodland  Avenue 
Presbyterian  Church,  of  which  he  is  still 
conductor.     This  society  is  ranked  as  one 


tive.     It  is  Dr.  Arne's  best  work  and  had  an  ;  of  the   best  chorus  choirs   in   the   United 


extraordinary  success,  being  for  a  long  time 
a  favourite  on  the  London  stage.     In  the 


States.     In  1873  The  Cleveland  Vocal  So- 
ciety was  formed,  with  Mi-.  Arthur  as  con- 


original  cast  Ai-baces  was  sung  by  Tenducci, :  ductor,  a  position  he  still  holds  ;  and  he  is 


Artaxerxes  by  Peretti,  Mandane  by  Miss 
Brent,  and  Artabanes  by  John  Beard.  To 
succeed  in  the  character  of  Mandane  was 
long  considered  a  test  of  the  vocal  powers 
of  female  dramatic  singers.  It  was  one  of 
Mrs.  Elizabeth  Billington's  best  impersona- 
tions.— Hogarth,  ii.  87  ;  Musical  Rev.,  iii. 
264. 

ARTEmSIA,  Queen  of  Halioarnassus, 
wlio  aided  Xerxes  in  the  battle  of  Salamis, 
when  he  invaded  Greece,  is  the  subject  of 


also  director  of  the  Cleveland  School  of 
Music.  He  visited  Euro2Je  in  1879  and  in 
1887.  Works :  The  Water  Carrier,  opera, 
1876  (MS.) ;  The  Roundheads  and  Cavaliers, 
do.,  1878  (MS.)  ;  Adaline,  opera,  1879-84 
(MS.).  Songs :  Memory's  Dream  ;  Tell  it, 
Silver  Throat ;  etc.  Didactic  :  Progressive 
Vocal  Studies,  1887  ;  Album  of  Vocal  Stud- 
ies, 1888  ;  and  other  vocal  studies.  He  has 
also  compiled  the  following  hymn-books : 
Evangelical  Hymnal ;  Spirit  of  Praise. 


78 


ARTISAN 


ARTISAN,  L'  (Tlip  :\rechanic),  opura- 
comique  in  one  act,  text  by  Saint-Georges 
and  Simonnin,  original  plot,  music  by  Ha- 
levy,  represented  at  the  Theatre  Feydeau, 
Paris,  January,  1827.  Although  the  composer 
had  won  the  grand  prix  de  Rome  in  1819  and 
had  written  several  other  dramatic  works, 
this  was  the  first  which  he  succeeded  in  pro- 
ducing. The  libretto  is  feeble  but  the  music 
is  pretty,  and  it  was  given  a  hundred  times. 

ARTUT,  ALEXANDRE  JOSEPH  MON- 
TAGNY,  called,  born  in  Brussels,  Feb.  4, 
1815,  died  at  Ville-d'Avray,  near  Sevres, 
France,  July  20,  184.5.  Violinist  and  com- 
poser, son  and  pupil  of  Maurice  Montagny 
(1772-1829,  regimental  music  master  in  the 
time  of  the  Revolution).  He  studied  later 
under  Snel  in  Brussels,  and  under  Rudolf 
and  August  Kreutzer  at  the  Conservatoire 
in  Paris  (1824-31),  won  the  second  prize  in 
1827,  and  the  first  in  1828.  He  made  eon- 
cert  tours  through  England,  Holland,  Ger- 
many, Italy,  Russia,  the  United  States 
(1843),  and  to  Havana,  returning  in  1845  to 
France.  Works  :  Concerto  pour  violon  et 
orchestre,  en  la  mineur  ;  Fantaisies  pour  vio- 
lon et  jiiano,  op.  4,  5,  8,  11,  IG,  19  ;  Airs 
varies  pour  violon  et  orchestre,  on  piano, 
op.  1,  2,  17  ;  Rondeaux  pour  violon  et  or- 
chestre, ou  piano,  op.  9  et  15  ;  Serenades, 
romances,  etc.  —  Biog.  nat.  de  Belgique  ; 
Fetis  ;  Mendel. 

ARTOT,  JEAN  DESIRE  MONTAGNY, 
called,  born  in  Paris,  Sept.  23,  1803,  still 
living,  1888.  Cornet  player,  son  and  pupil 
of  Maurice  Montagnj'.  He  was  first  cornet 
in  the  31st  Swiss  Regiment  in  1819,  under 
Jacques  Bender,  then  member  of  the  or- 
chestra of  the  Royal  Theatre,  Brussels,  in 
1823  ;  and  cornet  player  to  the  King  of  the 
Netherlands,  at  his  father's  death,  in  1829. 
He  travelled  through  Germany  and  France 
in  1835  ;  was  professor  of  the  cornet  at  the 
Conservatoire,  Brussels,  in  1843,  and  solo 
player  to  Leopold  I.  in  1849.  Woi-ks :  Six 
fantaisies  concertantes  pour  cor  chromat- 
ique,  avec  piano  ;  48  etudes  adoptees  comme 
exercises  par  les  Conservatoires  et  Ecoles  de 


Musique  de  Bruselles  ;  18  melodies  pour 
cor,  ou  violoncelle,  avec  piano ;  quatuors 
pour  cors  chromatiques  ou  cornets  a-pis- 
tons ;  12  trios  et  12  quatuors  pour  les 
memea  (Brussels). — Fetis,  Supplement,  i. 
•26  ;  Mendel,  Ergiinz.,  17. 

ARTUSI,  GIOVANNI  M.ARIA,  born  at 
Bologna,  Italy,  about  1554,  died  (?).  Canon 
of  S.  Salvatore,  Venice  ;  he  was  the  defender 
of  the  counterpoint  of  his  day  against  the  in- 
novations of  Claudio  Monteverde.  Works  : 
Canzonette  (4  voice.s)  ;  Cautate  Domino 
(dedicated  to  Schieti  in  Vincent!  collec- 
tion). His  theoretical  works  are :  Arte  del 
contrappunto  ridotto  in  tavole  (1586,  1589, 
later  translated  by  Frost  into  German)  ; 
Delle  imperfezioni  delle  musica  moderna 
(an  attack  on  Monteverde's  use  of  unpre- 
jmred  sevenths  and  ninths,  1600,  1603)  ; 
Difesa  ragionata  delle  sentenze  date  di 
Ghisilino  Dankerto ;  Impresa  del  Zarlino 
(1604);  Considerazione  IMusicale  (1607).— 
Fetis  ;  Gerber  ;  Schilling. 

ARVIRE  ET  liVELINA,  lyric  tragedy  in 
three  acts,  text  by  Gaillard  from  Mason's 
"  Caractacus,"  music  by  Saccliini,  repre- 
sented at  the  Opera,  Paris,  April  30,  1788. 
The  composer  died  (Oct.  7,  1786)  before 
finishing  his  work,  and  the  end  of  the  third 
act  was  written  bj'  Rey,  the  leader  of  the 
orchestra  at  the  Opera. 

ASANTSCHEWSKY,  MICHAEL  VON, 
born  in  Moscow  in  1838,  still  living,  1888. 
Composer  and  virtuoso,  pupil  at  Leipsic  in 
1861-62  of  Hauptmauu  and  of  Richter  in 
Paris,  where  he  bought  the  librarj'  of  An- 
ders, adding  it  to  his  own,  and  he  has  now 
one  of  the  finest  musical  libraries  in  the 
world.  In  1870-76  he  was  Rubinstein's  suc- 
cessor as  director  of  the  Conservatory  at  St. 
Petersburg.  Works  :  Sonata  in  B  minor, 
op.  2,  pianoforte  and  violoncello  ;  Trio  in  F- 
sharp  minor,  op.  10,  pianoforte  and  strings  ; 
Fest-Polonaise,  op.  12,  two  pianofortes;  Pas- 
satempo,  piano  a  quatre  mains. — Fetis,  Sup- 
plement, i.  27  ;  Riemann. 

ASCANIO  IN  ALBA  (Ascanius  in  Alba), 
Italian  opera,  text  by  Metastasio,  music  by 


79 


ASCHENBEENNEK 


PoUarolo,  represented  in  Venice,  1701  ; 
serenata,  test  by  Abbate  Giuseppe  Parini, 
music  by  Mozart,  given  at  JSIilan,  Oct.  17, 
1711,  on  the  marriage  of  the  Archduke 
Ferdinand  of  Austria  with  the  Princess 
Maria  of  Modena.  Ascanius  is  the  son  of 
J^lueas  and  founder  of  Alba  Longa.  The 
same  subject  lias  been  treated  by  Beruabei, 
Munich,  1686  ;  and  by  Antonio  Lotti  and 
Leal-Moreira,  Lisbon,  1784. 

ASCHENBKENNER,  CHRISTIAN 
HEINRICH,  bom  at  Alt-Stettin,  Dec.  29, 
1654,  died  at  Jena,  Dec.  13,  1732.  Violin- 
ist, first  instructed  by  his  father,  who  was 
municipal  music  director  at  Alt-Stettin  ; 
then  jjupil  in  composition  of  Schiitz,  and  at 
Merseburg  of  Theile,  and  in  Vienna  of 
Schmelzer.  He  was  first  violinist  in  the 
ducal  orchestras  at  Zeitz  (1677-81),  and 
Merseburg  (1683-90),  then  director  of  mu- 
sic at  Zeitz  (1695-1713),  and  Kapellmeister 
to  the  Duke  of  Merseburg  (1713-19).  He 
visited  Vienna  in  1692,  when  he  played 
before  the  emperor  and  dedicated  to  him 
a  collection  of  sonatas  for  the  violin,  and 
again  in  1703.  His  principal  and  at  present 
only  known  work  is  :  Gast-  und  Hochzeits- 
freude,  bestehend  in  Souateu,  Praludien, 
Allemanden,  Couranten,  Balletten,  Arien,  Sa- 
rabanden  mit  di-ei,  vier  und  fiinf  Stimmen 
nebst  dem  basso  continuo  (Leipsic,  1673, 
Innsbruck,  1676).— F6tis  ;  Mendel ;  Schil- 
ling. 

ASCHER,  JOSEPH,  born  in  London  in 
1831,  died  there,  June  3,  1869.  Pianist, 
pupil  of  Moscheles,  whom  he  followed  to 
the  Conservatorium  at  Leipsic.  He  went 
to  Paris  in  1849  and  became  court  pianist 
to  the  Empress  Eugenie.  His  best  known 
compositions  are  two  mazurkas,  La  jierle  dii 
Nord  and  Dozia,  and  an  etude,  Les  gouttes 
d'eau  ;  besides  these,  he  wrote  over  a  hun- 
dred gallops,  nocturnes,  mazurkas,  tran- 
scriptions, and  etudes.  His  song,  Alice, 
where  art  thou,  is  still  a  favourite  at  con- 
certs.— Grove. 

ASHE,  ANDREW,  bom  at  Lisburn,  Le- 
land,   in    1759,  died   in   London    iu    1828. 


Flutist,  first  instructed  at  Woolwich  on  the 
violin,  then  pupil,  at  the  Hague,  of  Wend- 
ling  on  the  flute,  through  the  patronage  of 
Count  Bentinck,  a  Dutch  colonel  in  the 
English  service,  with  whom  he  had  trav- 
elled extensively.  He  was  first  flute  at  the 
Opera  House  of  Brussels  in  1778-82,  and 
was  engaged  at  the  concerts  in  the  Rotun- 
da at  Dublin  until  1791,  when  he  went  to 
London,  where  he  appeared  successfully  in 
many  concerts  as  virtuoso  and  composer. 
He  was  subsequently  first  flute  at  the  Italian 
ojjera,  and  in  1810  conductor  at  the  concerts 
at  Bath,  which  position  he  resigned  in  1822, 
to  devote  himself  to  the  editing  of  his  nu- 
merous works. — Grove  ;  Mendel. 
ASHTON.  See  Aston. 
ASILO  D'  AMORE,  L'  (Love's  Refuge), 
Italian  opera  in  one  act,  text  bj'  Metastasio, 
first  set  to  music  by  Caldara,  and  ref)r6- 
sented  at  Lintz,  Upper  Austria,  Aug.  28, 
1732,  on  the  occasion  of  the  visit  there  of 
the  Emperor  Charles  VI.,  to  celebrate  the 
birthday  of  the  Empress  Elizabeth.  Scene 
near  the  coast  of  Cyprus.  Characters  rep- 
resented :  Venere,  Amore,  Pallade,  Apollo, 
Mercurio,  Marte,  Proteo.  The  libretto  has 
been  set  to  music  also  by  Johann  Adolph 
Hasse,  Dresden,  1743  ;  by  Jommelli,  Stutt- 
gart, 1767  ;  cantata,  by  Benedetto  Bierey, 
1797. 

ASIOLI,  BONIFAZIO,  born  at  Correg- 
gio,  April  80,  1769, 
died  there,  May  26, 
1832.  Dramatic 
comijoser,  first  in- 
structed, when  five 
years  old,  by  Luigi 
Crotti,  organist  of  S. 
Quirino,  and  at  the 
age  of  ten  pupil  of 
Morigi  at  Parma. 
Two  yeai-s  before,  he 
had  already  composed  three  masses,  twenty 
other  pieces  of  church  music,  a  concerto  for 
pianoforte  with  orchestra,  another  for  vio- 
lin, and  two  sonatas  for  four  hands.  Having 
completed  his  studies  in  Parma,  he  went  to 


ASIOLI 


Venice,  where  he  gave  two  concerts,  .and  on 
his  return  to  Correggio,  four  months  later, 
he  was  made  maestro  di  cappella.  In  1787 
lie  went  to  Turin,  and  lived  there  until 
1796,  when  he  accompanied  the  Marchesa 
Gherardini  to  Venice,  remained  there  for 
three  years,  and  in  1799  settled  at  Milan. 
In  1801  he  became  maestro  di  cappella  to 
the  Viceroy  of  Italy,  and  in  1809  censor  and 
professor  of  composition  and  singing  at  the 
newly  erected  Conservatorio.  In  1810  he 
visited  Paris,  and  in  1813  retired  to  his 
native  town,  where  he  composed  until  1820, 
and  established  a  school  of  music,  which 
nourished  under  his  direction.  Works — 
Operas ;  La  volubile,  given  in  Rome  about 
1786  ;  La  contadiua  vivace,  Naples,  about 
1786  ;  La  discordia  teatrale,  Milan,  about 
1786  ;  H  Ciclope,  Naples,  1787  ;  La  festa 
d'Alessandro,  Turin,  about  1790  ;  Pimma- 
glione,  ib.,  about  1789  ;  Gustavo,  ib.,  1791: ; 
Cinna,  Milan,  Teatro  della  Scala,  1801  ;  La 
gabbia  de'  Pazzi,  intermezzo,  Venice,  about 
1785  ;  II  ratto  di  Proserpina,  do.,  Naples, 
about  178.5  ;  Giacobbo  in  Galaad,  oratorio. 
Cantatas:  La  gioja  pastorale  (between  1781 
and  1785)  ;  La  primavera ;  II  nome ;  II 
consiglio ;  II  complimento ;  Quella  eetra 
pur  tu  sei ;  Piramo  e  Tisbe  ;  La  scusa  ;  La 
tempesta  (Turin,  1787-96)  ;  H  dubio  ;  La 
Medea  (Milan) ;  Five  masses,  and  many 
other  pieces  of  church  music  ;  Four  over- 
tui-es  ;  Concertos,  sonatas,  duets,  trios,  etc. 
For  different  instruments :  Arias,  canons, 
songs,  duets,  terzets,  quartets,  with  and 
without  accompaniment,  etc.  Several  theo- 
retical w'orks. — Fetis  ;  Mendel ;  Schilling. 

ASIOLI,  Francesco,  Italian  dramatic  com- 
poser, contemijorary.  He  brought  out  the 
opera  Maria  de'  Ricci,  in  Milan,  La  Scala, 
Feb.  10,  1859.— Fi'tis,  Supplement,  i.  28. 

ASOLA  (Asula),  GIOVANNI  MATTEO, 
born  in  Verona,  lived  in  the  latter  part  of 
the  16th  century.  Priest  and  comjioser  be- 
tween the  j'ears  1565  and  1600.  In  1592, 
in  conjunction  with  other  composers,  he 
dedicated  a  collection  of  Psalms  to  Pales- 
trina.     He  was  among  the  first  to  use  fig- 


ured bass.  Works — JIadrigals  :  Madrigali 
a  due  voci  da  cantarsi  in  fuga  (1587)  ; 
other  editions  (Venice,  1604,  1624,  1665)  ; 
La  Vergine,  madrigali  a  tre,  lib.  i.  (1596). 
Martini  has  included  some  in  his  Exem- 
plare  ;  and  some  of  Asola's  motets  are  in  the 
Promptuarium  Musicum  of  Abraham  Schad. 
Church  compositions  :  Introitus  et  Alleluya, 
etc.  (1565) ;  Missarum  quiuque  voc,  etc. 
(1571)  ;  Psalmodia  ad  vespertinas,  etc. 
(1574)  ;  Falsi  bordoni  sopra  gli  otto  tuoni 
ecclesiastici,  etc.  (Venice,  1575,  1582,  1584, 
Milan,  1587) ;  Vespertina  jjsalmodia  maj., 
etc.  (1576)  ;  Completorium  per  totum  (pia- 
tuorque  illse  B.  V.,  etc.,  antij)honal  (1576)  ; 
Vespertina  omnium  solemn,  psal.  duoque 
B.  v.,  etc.  (1578) ;  Primo  lib.  deUe  Messe, 
etc.  (1579)  ;  Secundolib.,  etc.  (1580) ;  Missa 
et  major,  solemn,  psal.  6  vocum  (1581)  ; 
Vesjjertina,  etc.  (1582)  ;  Officium  majores 
hebdomadte,  saiict.  etc.  (1583)  ;  Secunda 
pars,  idem  (1584)  ;  In  jaassionibus  quat. 
evang.  Ckristi  locut.,  etc.  (1583)  ;  Sacrse 
cantiones,  etc.  (1584) ;  Divinoe  Dei  laudes, 
etc.  (1586) ;  Lamentatioues,  etc.  (1588) ;  Se- 
cunda j)fii's  vespertina;,  etc.  (1591)  ;  Missa 
defunctorum  (1588) ;  Duse  Missse  et  decern 
sacrre  laudes  (Venice,  1589)  ;  Misse  sopra 
gli  otto  tuoni,  etc.  (Milan,  1590)  ;  Canto 
fermo  sopira  le  Messe,  etc.  (Venice,  1596)  ; 
Sacro-sanctse  Dei  laudes,  antiphonal  in 
four  vols.  (1600).— Fetis  ;  Gerber,  N.  Lex.; 
Schilling. 

ASP  A,  EDWIN,  born  in  London,  May  6, 
1835,  still  living,  1888.  Organist,  nephew  of 
Mario  Aspa.  Works  :  The  Gipsies,  cantata  ; 
Endymion,  do. ;  Pianoforte  pieces  ;  Songs,  etc. 

ASPA,  MARIO,  born  at  Messina,  Sicily, 
in  1799,  died  there,  Dec.  14,  1868.  Dra- 
matic composer,  studied  at  first  in  Messina 
and  Palermo,  then  under  Zingarelli  at  the 
Royal  College  of  Music,  Najjles,  where  he 
settled  as  a  teacher  of  vocal  music.  Works 
— Operas:  Giovanni  Banier, ossia  il  Castello 
di  Arolte,  given  at  Najjles,  Teatro  del  Fondo, 
1830  ;  II  carcei-e  d'  Ildegonda,  ib.,  Teatro 
Nuovo,  1831;  La  burla,  ib.,  Teatro  del 
Fondo,  1832 ;    II  litigante    senza    lite,  ib., 


81 


ASPA 


1833  ;  La  finta  greca  (farce),  I  due  Forzati,  * 
ib.,  about  1834  ;  II  quadro  pailaute,  Teatro 
Nuovo,  1834;  II  20  Augusto,  Teatro  del' 
Foudo,  1835 ;  Bartolommeo  del  Piombo, 
Teatro  Nuovo,  1837  ;  Allan  Mac  Auley,  ib., 
1838 ;  H  mariuaro,  ib.,  1839  ;  Maria  d'Ai-les, 
ib.,  1841 ;  II  proscritto,  Turin,  1841 ;  Gu- 
glielmo  Colman,  Naj)les,  1843  ;  Paolo  e  Vir- 
ginia, Rome,  Teatro  Metastasio,  1843  ;  II 
travestimento,  Najjles,  Teatro  del  Foudo, 
1846  ;  Piero  di  Calais,  Messina,  Teatro  Vit- 
torio  Emraanuele,  1872  ;  La  vei'ga  magica  ; 
La  metamorfose  fortunata  ;  Federico  II.  ; 
L'  orfana  muta  ;  II  niuratore  di  Napoli  ; 
Werther  ;  Emo  ;  Margherita  d'  Aragona  ; 
Gustavo  Wasa. — Fetis. 

ASPA,  EOSARIO,  born  at  Messina,  Sic- 
ily, Jan.  12,  1827,  still  living,  1888.  Dra- 
matic composer,  brother  of  Edwiu  Aspa. 
"Works  :  The  Artist's  Stratagem,  opera  ; 
Pianoforte  pieces  ;  Songs. 

ASPASIE,  French  opera  in  three  acts, 
text  by  Morel,  music  by  Gn'try,  represented 
at  the  Opera,  Paris,  March  17,  1789,  known 
now  only  by  its  celebrated  duet,  "Donne-la- 
moi,  dans  nos  adieus."'  Opera-comique  in 
two  acts,  music  bj'  Saint-Amans,  Paris,  about 
1790.  Aspasie  et  Pericles,  ojjera  in  one  act, 
text  by  Viennet,  music  by  Daussoigne-Me- 
hul.  Opera,  Paris,  July  17,  1820. 

ASPELMA.YER  (Appelmeyer),  FRANZ, 
died  in  Vienna,  July  29  (or  Aug.  9),  1786. 
Dramatic  composer,  court  musician  to  the 
emperor.  Works  :  Die  Kinder  der  Natur, 
opera,  given  in  Vienna,  1770  ;  Pygmalion, 
do.,  ib.,  about  1770  ;  Der  Sturm,  do.,  ib., 
1786  ;  Agamemnon,  ballet  ;  La  Lavandara 
di  Citere,  do.;  I  Mori  spagnuoli,  do.  ;  6  duets 
for  violin  and  violoncello  ;  G  trios  ;  6  quar- 
tets for  violin  ;  10  serenades  for  wind  in- 
struments. -— Fetis. 

ASPERI,  URSULA,  born  in  Rome  in 
1807.  Dramatic  composer  and  pianist,  pu- 
pil of  Fioravanti  ;  conducted  the  orchestra 
of  a  small  theatre  in  Florence  in  1839. 
Works :  Le  avventure  di  una  giornata, 
opera,  given  in  Rome,  Teatro  Valle,  1827  ; 
I  pirati,  do.,  ib.,  1843. — Fetis. 


ASSEDIO  DI  CORINTO.  See  Siege  de 
Corinthe. 

ASSMAYER,  IGNAZ,  born  at  Salzburg, 
Austria,  Feb.  11,  1790,  died  Aug.  31,  1862. 
Organist,  pupil  of  Michael  Haydn.  In  1808 
he  was  organist  of  St.  Peter's,  at  Salzbui-g, 
where  he  composed  an  oratorio.  Die  Siind- 
fluth,  and  a  cantata,  Worte  der  Weihe.  In 
1815  he  settled  in  Vienna,  and  in  1824  was 
appointed  organist  at  the  Schottenstift,  in 
1825  imperial  organist,  in  1838  vice-,  and  in 
1846  chief-Kapellmeister  to  the  court.  The 
Tonkiinstler-Societat,  which  Assmayer  con- 
ducted for  fifteen  years,  often  performed 
his  chief  oratorios.  Das  Geliibde,  Saul  und 
David,  and  Saul's  Tod.  He  was  author  of 
fifteen  masses,  two  requiems,  a  Te  Deum, 
some  hymns,  motets,  and  other  sacred  mu- 
sic, and  nearly  sixty  secular  compositions, 
consisting  of  overtures,  symphonies,  jiasto- 
rales  ;  the  latter  have  all  been  published. — 
Fetis  ;  Mendel ;  Schilling  ;  Pietznigg,  Mit- 
theilg.  aus  Wien  (1834),  iii.  1  ;  Wurzbach. 

ASSOUCI,  CHARLES  COYPEAU  D', 
born  in  Paris  in  1604,  died  there  in  1679. 
Lute  player  and  dramatic  comjjoser.  He 
led  a  vagabond  life  in  France,  England, 
and  Italy,  and  died  in  want  and  misery. 
He  composed,  and  wrote  the  words  to,  Les 
amours  dApollou  et  de  Daphne,  comedie 
en  musique,  en  vers  (Paris,  1650). — Schil- 
ling. 

ASTARITA,  GENNARO,  born  at  Naples 
about  1749,  died  ('?).  Dramatic  composer, 
esi^ecially  of  comic  operas,  which  were  very 
popular  both  in  Italj'  and  Germany.  His 
style  shows  a  great  similarity  to  that  of  his 
contemporary,  Anfossi.  Works :  La  con- 
tessa  di  Bimbinpoli,  given  in  Rome,  1772  ; 

I  visionari,  Venice,  1772  ;  Le  finezze  d' 
amore,  o  la  Forza  non  si  fa,  ma  si  prova, 
Naples,  1773  ;  II  marito  che  non  ha  moglie, 

II  priucipe  Spondriaco,  Venice,  1774  ;  La 
critica  teatrale,  Rome,  1775 ;  H  mondo 
della  Luna,  Venice,  1775  ;  La  dama  im- 
maginaria,  L'  isola  di  Bingoli,  Naples,  1777  ; 
Armida,  Circe  ed  Ulysse,  1777  ;  Nicoletto 
bella  Vita,   Naples,  1779  ;    La   contessina, 


ASTAETE 


Rome,  about  1780  ;  La  inoliuarella,  Raven- 
na, 1783 ;  II  divertimento  in  campagna, 
Dresden,  1783  ;  H  Franccse  bizzarro,  ib., 
1786  ;  I  tilosofi  inimaginarj,  Naples,  1788  ; 
I  capriccj  in  amore,  Venice,  1791  ;  L'  im- 
l^resario  in  scompiglio  (farce),  IVIilan,  Tea- 
tro  della  Canobbiana,  1791 ;  II  medico  Parig- 
ino,  ib.,  1792  ;  II  parrucbiere,  Berlin,  1793  ; 
L'  isola  disabitata  ;  Le  Cinesi. — Fetis. 

ASTARTE,  Italian  opera,  text  by  Zeno, 
music  by  Albinoni,  Venice,  1708  ;  music  by 
Fago,  Naples,  1709  ;  music  by  Predieri, 
Bologna,  1715  ;  music  by  Caldara,  Vienna, 
1718  ;  music  by  Giovanni  Battista  Bonou- 
cini,  London,  1720 ;  German  oisera,  from 
Zeno's  text,  music  by  Treu,  Breslau,  1725; 
Italian  opera,  music  by  Terradeglias,  Rome, 
1736,  Naples,  1739  ;  music  by  Rauzzini,  Mu- 
nich, 1769. 

ASTIANASSE.  See  A.^h/amx. 
ASTON  (Ashton,  Asbtan),  HUGH,  Eng- 
lish organist  iu  time  of  Henry  VHI.  A  Te 
Deum  for  live  voices  and  a  motet  for  six 
voices  by  him  are  preserved  iu  the  Music 
School,  Oxford. 

ASTORGA,  German  opera  iu  three  acts, 
text  by  E.  Basque,  music  by  Abert,  first 
ref)reseuted  with  great  success  at  Stuttgart, 
Sept.  20,  1866.  The  libretto  is  derived 
from  the  romantic  story  of  the  composer. 
Baron  Emanuele  d'  Astorga,  who,  when  on 
a  diplomatic  mission  to  the  court  of  Parma, 
in  1704,  fell  in  love  with  the  duke's  sis- 
ter, his  pupil  in  music.  Characters  repre- 
sented :  Astorga  (T.),  Angioletta  (S.),  Bal- 
bazes  (Bar.),  Eleonore  (S.),  Lauristan  (B.), 
and  Farnese  (B.). 

ASTORGA,  EMANUELE,  Baron  D', 
born  in  Palermo,  Sicilj',  in  1681,  died  in 
Bohemia,  Aug.  21,  1736.  He  was  the  son 
of  the  Marehese  Capece  da  Roffrano,  a  Si- 
cilian noble,  executed  with  several  others 
for  conspiring  against  the  Spanish  power. 
Having  attracted  the  attention  of  the  Prin- 
cess Ursini,  maid  of  honour  to  the  wife  of 
Philip  v.,  he  was  placed  by  her  at  the  con- 
vent of  Astorga,  in  Spain,  where  his  musi- 
cal education  (probably  begun  at  Palermo 


under  Francesco  Scarlatti)  was  completed. 
On  leaving  the  convent,  after  a  few  years' 
residence,  he  obtained  the  title  of  Baron  d' 
Astorga,  through  his  patroness's  influence. 
Iu  1704  he  was  sent  on  a  dij>lomatic  mission 
to  the  court  of  Parma,  where  he  made  him- 
self very  popular,  but  was  sent  to  Vienna 
by  the  duke  iu  1705,  to  break  off  a  love 
affair  between  the  young  composer  and  his 
puj^il,  Elisabetta  Farnese,  the  duke's  sister. 
He  spent  the  greater  part  of  his  life  in 
travels  through  Spain,  Portugal,  England, 
and  Italy.  Shortly  after  1720  he  retired  to 
the  Prince  of  Lobkwitz's  Sehloss  Kaudnitz, 
in  Bohemia,  where  he  remained  until  his 
death.  He  was  a  handsome  man  of  the 
world,  of  graceful  manners  and  pleasing 
address,  and  a  most  accomplished  singer. 
As  a  composer,  he  is  now  chiefly  famous  for 
his  great  Skibaf.  Mater  for  4  voices  (Oxford, 
1713).  He  wrote  also  a  pastoral  opera, 
Dafui  (Barcelona,  June,  1709),  and  many 
cantatas,  of  which  the  Abbate  Santini  has  54 
for  soprano,  44  for  contralto,  with  figured 
bass,  and  10  for  two  female  voices.  The 
score  of  Dafni  is  in  the  Kiesewetter  collec- 
tion in  the  Hofbibliothek,  Vienna.  The 
Stabat  Mater,  with  additional  accompani- 
ments by  Robert  Franz,  is  published  by 
F.  E.  C.  Leuckart,  Leijssic. — Rochlitz,  Fiir 
Freunde  der  Tonkuust,  ii.  43 ;  Grove,  i.  99  ; 
Riehl,  Musikalische  Charakterkopfe,  i.  16. 

ASTREA  PLACATA  (Astrea  Appeased), 
Italian  operetta  in  one  act,  text  by  Metas- 
tasio,  music  by  Predieri,  represented  iu  Vi- 
enna, Aug.  28,  1739,  to  celebrate  the  birth- 
day of  the  Empress  Elizabeth.  Scene  iu  the 
palace  of  Jove  ;  subject  from  Ovid's  "Meta- 
morphoses." Characters  represented  :  Gl- 
ove, Astrea,  Apollo,  La  Clemenza,  II  Rigore. 
ASTREE  (Astrea),  lyric  tragedy  in  three 
acts,  text  by  La  Fontaine,  music  by  Colasse, 
represented  at  the  Academic  Royale  de  Mu- 
sique,  Paris,  Nov.  28,  1691. 

AS-TU   SOUFFERT,  AS-TU  PLEURE. 
See  Mignon. 

ASTUZIE    FEMINILI,    LE    (Woman's 
Cunning),  Italian  opera,  text  by  Metastasio, 


&3 


ASTYANAX 


music  by  Cimarosa,  repi'esented  at  the  Tea- 
tro  del  Fondo,  Naples,  1793  ;  Opera  Italieu, 
Paris,  Oct.  21,  1802,  and  again  in  1803, 1814, 
and  187-4. — Clement  and  Larousse,  831. 

ASTYANAX  (Ital.,  Astiauasse),  French 
opera  in  three  acts,  text  by  Dejaure,  music 
by  Kreutzer,  represented  at  the  Opera, 
Paris,  April  12,  1801.  The  libretto  is  de- 
rived from  the  "  Troyades "  of  Eurijjides 
and  of  Seneca,  and  the  hero  is  Astyauas, 
son  of  Hector  and  Andromache,  who,  after 
the  fall  of  Troj',  was  hurled  from  the  bat- 
tlements by  the  Greeks  to  prevent  the  ful- 
filment of  the  decree  of  fate,  by  which  he 
was  to  restore  the  city.  Italian  operas  on 
the  same  subject,  text  by  Salvini  :  Astia- 
nasse,  music  bj'  Leo,  Naples,  1725  ;  music  bj- 
Vinci,  Venice,  1725  ;  music  by  Bouoncini, 
London,  May  6,  1727  ;  music  by  Jommelli, 
Rome,  1741 ;  music  by  Pampiui,  Italy,  1755  ; 
music  by  Galuppi,  about  17G0. 

ATALANTA  (Atalante),  the  Arcadian  hunt- 
ress, who  was  won  for  his  wife  by  Mela- 
niou,  through  a  cunning  stratagem,  is  the 
subject  of  several  operas.  Italian  opera, 
text  by  Pallavicino,  music  by  J.  K.  Karl, 
Munich,  1667  ;  music  by  Draghi,  Vienna, 
1669  ;  text  by  Zeno,  music  by  Chelleri,  Fer- 
rara,  1713  ;  music  by  Handel,  London,  May 
12,  1736  ;  music  by  Johann  Adolph  Hasse, 
Dresden,  1737  ;  music  by  Giordani,  Turin, 
1792  ;  music  by  Steffimi,  Hamburg,  1698  ; 
German  opera,  music  by  Strungk,  Leipsic, 
1695.  Atalanta  e  Meleagro,  music  by  Ei- 
ghini,  Beriin,  1797. 

ATENAIDE,  L',  or,  Gli  affetti  generosi, 
Italian  ojieretta  in  two  parts,  text  by  Metas- 
tasio,  music  by  Bonno,  represented  privately 
in  the  palace  of  the  Ai'chduchess  Marianna 
Isabella  de  Bourbon,  Vienna,  1762.  Sub- 
ject, the  elevation  to  the  imperial  purple  of 
Athenais,  afterwards  Eudocia,  wife  of  Theo- 
dosius  n..  Emperor  of  the  East.  Scene  in 
an  imperial  palace  on  the  banks  of  the  Bos- 
porus. Characters  represented  :  Teodosio 
il  Giovane,  Emperor,  secretly  in  love  with 
Atenaide  ;  Marziano,  general  of  the  imperial 
army,  also  in  love  with  her  ;  Atenaide,  se- 


cretly in  love  with  Teodosio  ;  Pulcheria, 
elder  sister  of  Teodosio,  secretly  in  love 
with  Marziano ;  Asterio,  imperial  prince, 
also  in  love  with  Atenaide. 

A  TE,  O  CARA.     See  PurUani. 

ATHALIA,  oratorio,  text  by  Samuel  Hum- 
phreys, music  b}'  Handel,  first  performed  at 
Oxford,  July  10,  1733.  The  score  of  this, 
the  third  of  Handel's  oratorios,  was  finished 
June  7,  1733.  The  text  is  arranged  in  imi- 
tation of  the  "  Athalie  "  of  Racine.  The 
oratorio  was  given  in  London  five  times 
in  April,  1735,  with  Miss  Young  as  Athalia, 
Siguora  Strada  as  Josabeth,Carestini  as  Joad, 
Waltz  as  Abuer,  and  Master  Goodwill  (?)  as 
the  young  King  Joash.  Handel  rearranged 
much  of  the  music  of  Athalia  for  an  Italian 
serenata,  called  Parnasso  in  Festa,  produced 
at  the  King's  Theatre,  March  13,  1734,  in 
honour  of  the  marriage  of  the  Princess 
Royal  with  the  Prince  of  Orange.  The  ora- 
torio was  revived  in  London,  June  20,  1845, 
by  the  Sacred  Harmonic  Society.  Pub- 
lished by  the  Himdel-Gesellschaft  (Leip- 
sic, 1859).— Schcelcher,  Handel,  156  ;  Rock- 
stro,  Handel,  199. 

ATHALIE,  music  to  Racine's  drama  of,  for 
chorus  and  orchestra,  by  Mendelssohn,  o-p.  74 
(ojj.  2,  posth.)  ;  composed  1843  (choruses), 
i  and  1844-45  (overture).  Early  in  1845  the 
choruses  were  rewritten  and  scored  for  or- 
chestra. It  was  first  performed  in  Berlin, 
Dec.  1,  1845.  It  was  given  in  England  at 
Windsor  Castle,  Jan.  1,  1847,  and  by  the  Phil- 
harmonic, London,  March  12,  1849.  Cho- 
ruses for  Athalie  were  written  also  by  Abt 
Volger,  Stockholm,  1791 ;  by  Gossec,  Paris, 
1791 ;  by  Boildieu,  ib.,  1836  ;  by  Ftlix  Cle- 
ment, ib.,  1858  ;  and  by  Cohen,  ib.,  1859. 

ATTALO,  R£  DI  BITINIA  (Attalus,  King 
of  Bithynia),  Italian  opera,  music  by  Johann 
Adoljah  Hasse,  represented  in  Naples,  1728 ; 
by  Aurisicchio,  London,  1758  ;  by  Alessandri, 
Florence,  1780;  by  Caruso,  Rome,  1790. 

ATTENHOFER,  KARL,  born  at  Wetting- 
en,  near  Baden,  Switzerland,  May  5,  1837, 
still  living,  1888.  Composer,  pupil  of  Dan- 
iel Elster  at  Baden,  of  Kurz  at  Neufcha- 


84 


ATTERBURY 


tel,  aud  of  Richter,  Papperitz,  Dreyselioek, 
Rontgeu,  and  Scbleiuitz  at  the  Conservato- 
rium  iu  Leipsic.  In  1859  he  became  musical 
instructor  at  Muri  (Aargau),  iu  1863  con- 
ductor of  a  male  singing  society  at  Rappers- 
wyl,  iu  wbich  capacity  he  soon  won  reputa- 
tion, and  assumed  the  direction  of  several 
other  societies,  removing  in  1867  to  Ziirich, 
where  in  1879  he  became  organist  aud  mu- 
sical director  of  the  Catholic  church.  He 
is  one  of  the  most  distinguished  Swiss  com- 
posers, especially  of  male  choruses,  but  also 
of  choruses  for  female,  aud  mixed  voices, 
songs,  pianoforte  pieces,  violin  studies,  aud 
some  masses. — Riemann. 

ATTERBURY,  LUFFMAN,  born  in  Eng- 
land about  1740,  died  at  Westminster,  June 
11,  1796.  Musician  iu  ordinary  to  George 
TIT,  He  composed  numerous  catches  and 
glees,  aud  between  1778  and  1780  obtained 
from  the  Catch  Club  prizes  for  three  glees 
and  two  catches  ;  he  also  wrote  an  oratorio, 
Goliah,  which  was  performed  at  the  Hay- 
market  Theatre  in  1773.  About  1790  he 
published  A  Collection  of  Twelve  Glees, 
Rounds,  etc.  A  number  of  his  glees  and 
catches  are  in  Warren's  collections. 

ATTILA,  King  of  the  Huns  (a.d.  434-454), 
called  the  Scourge  of  God,  is  the  subject  of 
several  operas  :  Music  by  Pietro  Antonio 
Ziani,  Venice,  1672  ;  music  by  Johann  W^olf- 
gang  Franck,  represented  iu  Hamburg, 
1682  ;  Italian  opera,  text  by  Rossi,  music  by 
Giuseppe  Pariuelli,  Venice,  1810  ;  music  by 
Malipiero,  Venice,  1846  (later  entitled  Ilde- 
gonda  di  Borgogua)  ;  text  by  Solera,  music 
by  Verdi,  Venice,  1846,  New  York,  March 
15,  1850,  one  of  the  most  feeble  of  the  mas- 
ter's works.  The  terzet,  "  Te  sol'  quest' 
auima"  (for  S.,  T.  aud  B.),  however,  is  one 
of  the  finest  examples  of  Verdi's  short  con- 
certed pieces,  aud  has  been  sung  more  than 
anything  else  by  him  in  this  form.  Attila 
iu  Aquileja  (in  Aquileia,  which  he  besieged, 
A.D.  451),  opera  seria,  music  by  Giuseppe 
Persiani,  Parma,  1827  ;  Attila  il  Re  de' 
Franchi  (King  of  the  Franks),  text  by  So- 
grafi,  music  by  Mosca,  Palermo,  1818. 


ATTILIO  REGOLO  (Atilius  Regulus), 
Italian  opera  iu  three  acts,  text  l>y  Jletastasio, 
first  set  to  music  by  Hasse  and  represented 
in  Dresden,  during  the  carnival,  in  1750. 
Scene  uear  Rome.  Characters  represented  : 
Regolo  ;  Manlio,  consul ;  Attilia  and  Publio, 
children  of  Regolo  ;  Barce,  a  noble  Carthage- 
niau  girl,  slave  of  Publio  ;  Licinio,  tribune 
of  the  people,  in  love  with  Attilia  ;  Amilcare, 
ambassador  of  Carthage,  in  love  with  Barce. 
The  same  text  has  been  set  to  music  also  by 
Scarlatti,  Rome,  1719  ;  Egidio  Naselli,  Pal- 
ermo, 1748  ;  Johauu  Adolph  Hasse,  Dres- 
den, 1750  ;  Jommelli,  Rome,  1752  ;  Carlo 
Monza,  Munich,  1777.     See  also  Eegulus. 

ATTRIJP,  KARL,  born  at  Copenhagen, 
March  4,  1848,  still  living,  1888.  Organist, 
pupil  iu  1867  at  the  Conservatorium  in  Co- 
penhagen, of  Gade,  whom  he  succeeded  two 
years  later  as  instructor  at  the  same  insti- 
tution. In  1871  he  was  appointed  orgauist 
at  St.  Frederick's,  aud  in  1874  at  the  Church 
of  the  Redeemer,  aud  instructor  of  the  or- 
gan in  the  Royal  Institute  for  the  Blind. 
He  has  given  many  organ  concerts  through- 
out Denmark,  Schleswig,  and  Swedeu,  and 
is  the  author  of  valuable  organ  music  and 
of  songs. — Mendel,  Ergiinz.,  17. 

ATTWOOD,  THOMAS,  born  in  London 
iu  1767,  died  there,  March  28,  1838.  Dra- 
matic composer  and  orgauist ;  pupil  of  Dr. 
Nares  and  Dr.  Ayrton,  while  a  chorister  iu 
the  Chapel  Royal,  from  1776  to  1881,  of  Fi- 
lippo  Ciuque  and  Gaetano  Latilla  in  Naples 
in  1783-85,  and  of  Mozart  in  Vienna  until 
his  return  to  England  in  1787.  He  was 
under  the  immediate  patronage  of  George 
IV.,  by  whom,  when  Prince  of  Wales,  he 
was  sent  to  Italy  to  study,  and  fi-om  whom 
he  received  most  of  bis  appointments. 
Attwood  held  successively  the  following 
offices  :  Orgauist  of  St.  George  the  Martyr, 
Queen  Square,  aud  member  of  the  Prince 
of  Wales's  chamber  band  ;  musical  in- 
structor to  the  Duchess  of  York  in  1791, 
to  the  Princess  of  Wales  in  1795,  organist 
of  St.  Paul's  Cathedral  iu  1795,  composer 
to  the  King's  Chapel  Royal  on  the  death  of 

86 


ATI'S 


Dr.  Dupuis  in  1796  ;  organist  of  George 
IV. 's  private  chapel  in  the  Pavilion  at 
Brighton  in  1821  ;  and  organist  of  the 
Chapel  Royal  in  1836.  He  occasionally 
conducted  concerts  of  the  Philharmonic 
Society,  of  which  he  became  a  member  on 
its  organization  in  1813.  Attwood's  earlier 
compositions  were  dramatic,  but  later  he 
devoted  himself  to  church  music,  sonatas, 
songs,  and  glees.  Attwood  was  a  friend  of 
Mendelssohn,  who  dedicated  to  him  some 
of  his  best  compositions.  AVorks  :  The 
Prisoner,  opera,  given  in  London,  1792  ; 
The  Mariners,  do.,  ib.,  1793  ;  Caernarvon 
Castle,  do.,  ib,  1798  ;  The  Adopted  Child, 
do.,  ib.,  1795  ;  The  Poor  Sailor,  do.,  ib., 
1795  ;  The  Smugglers,  do.,  ib.,  1796  ;  The 
Mouth  of  the  Nile,  do.,  ib.,  1798  ;  The  Devil 
of  a  Lover,  do.,  ib.,  1798  ;  A  Day  at  Rome, 
do.,  ib.,  1798  ;  The  Castle  of  Sorrento,  do., 
ib.,  1799  ;  The  Red  Cross  Knights,  do.,  ib., 
1799  ;  The  Old  Clothesman,  do.,  ib.,  1799  ; 
The  Magic  Oak,  do.,  ib.,  1799  ;  True  Friends, 
do.,  ib.,  1800  ;  The  Dominion  of  Fancy,  do., 
ib.,  1800  ;  The  Escapes,  or  the  Water  Car- 
rier (partly  original,  partly  from  Cherubiui's 
Les  deux  journees),  do.,  ib.,  1801 ;  II  Bon- 
docani,  do.,  ib.,  1801 ;  St.  David's  Day,  do., 
ib.,  1801;  The  Curfew,  do.,  ib.,  1807; 
Two  songs  contributed  to  Guy  Manneriug, 
1816 ;  Anthem  with  orchestral  accompani- 
ment, I  was  glad  (written  for  coronation  of 
George  IV.)  ;  do.,  O  Lord,  grant  the  King 
a  long  life  (coronation  of  William  IV.) ;  a 
volume  containing  four  services,  eight  an- 
thems, nine  chants  (edited  by  his  godson. 
Dr.  Thomas  Attwood  Walmisley,  fifteen 
years  after  Attwood's  death).  A  third  an- 
them was  begun  for  the  coronation  of 
Queen  Victoria,  but  never  finished.  His 
song,  The  Soldier's  Dream,  was  long  jwp- 
ular  ;  his  glees,  In  peace  Love  tunes  the 
Shepherd's  reed,  and,  To  all  that  breathe 
the  air  of  Heaven,  are  still  well  known  ; 
and  his  services  in  F  and  D  are  household 
words  in  most  cathedrals. — Barrett,  Eng- 
lish Church  Composers,  152  ;  Fetis  ;  Grove  ; 
Naumaun  (Ouseley),  ii.  1287. 


ATYS,  lyric  tragedy  in  five  acts,  text  by 
Quinault,  music  by  Lulli,  represented  at 
St.  Germain,  before  Louis  XTV.,  Jan.  10, 
1676,  and  in  Paris,  August,  1677.  Subject, 
the  love  of  Cybele  for  the  beautiful  Phry- 
gian shepherd  Atys.  This  work,  now  for- 
gotten, was  greatly  liked  by  the  king.  In 
1682,  on  its  third  representation,  the  ballet 
was  danced  by  the  chief  lords  and  ladies  of 
the  court.  It  was  reproduced  ten  times  at 
the  Academic  de  Musique  between  1687 
and  1710.  Quinault's  text,  reduced  to 
three  acts  by  Marmontel,  with  music  by 
Nieolo  Piccinni,  was  represented  at  the 
Academie  de  Musique,  Feb.  22,  1780. 
Though  successful,  it  did  not  keep  the 
stage  long.  On  the  same  subject  are  the 
operas,  Atide,  music  by  Giacomo  Perti 
[  (with  Tosi),  Bologna,  1679  ;  Atide,  music 
\  by  Mysliweczek,  Padua,  1771 ;  Atys,  music 
by  Ariosti,  Lutzenburg,  1700  ;  and  Cibele 
et  Ati,  music  by  Antonio  Bertali,  Vienna, 
1666. 

AUBER,  DANIEL  FRANCOIS  ESPRIT, 
born  at  Caen  (Cal- 


vados), Jan.  29, 
1784,  died  in  Par- 
is, May  12,  1871. 
His  father,  Jean 
Baptiste  Daniel 
Auber,  was  officer 
of  the  king's  hunt, 
and  an  amateur 
musician ;  and  an 
uncle,  Daniel  Au- 
ber, was  painter 
Auber  first  studied  music  as 
an  accomplishment,  taking  pianoforte  les- 
sons of  Ladurner,  and  was  sent  to  London 
to  enter  a  commercial  house.  Business 
soon  i^roved  distasteful  to  him,  and  he  re- 
turned to  Paris,  where  he  became  well 
known  in  certain  artistic  circles  for  his 
compositions,  mostly  chamber  music.  His 
first  dramatic  work  was  a  new  setting  of 
the  text  of  an  old  comic  opera,  Julie,  the 
orchestral  part  of  which  he  wrote  for  strings 
only.     This  was  soon  followed  by  another 


to  the  king. 


iffi 


AUBERLEN 


opera ;  both  works  were  given  in  private ;  first  two  and  tliose  otherwise  marked, 
about  1812,  and  were  much  applauded,  j  Works — Operas  :  Julie,  1812  (?)  ;  Le  sejour 
In  sinte  of  these  amateur  successes,  he  felt !  militaire,    1813  ;    Le   testament,    1810  ;   La 


dissatisfied  with  his  work,  and  began  seri 
ous  studies  under  Cherubini.  His  studies 
ended,  he  wrote  a  four-part  mass.  He  first 
appeared  before  the  public  in  1813,  with  an 
opera  in  one  act,  Le  sujour  militaire ;  this, 
with  Le  testament,  ou  les  billets-doux,  1819, 
was  wholly  unsuccessful.  But  in  1820  his 
three-act  La  bergere  chatelaine,  given  at 
the  Opera  Comique  (Feydeau),  was  much 
applauded,  and  Emma,  ou  la  promesse  im- 
prudente,  1821,  confirmed  his  reputation. 
In  Le  concert  a  la  cour,  and  Lij>cadii\  both 
182-1,  and  notably  iu  Le  mapon,  1825,  a 
new  and  more  mature  development  of  his 
style  was  noticeable ;  here  begins  his  sec- 
ond manner.  This  second  period  closed 
gloriously  with  La  Muette  de  Portici,  given 
at  the  Opera,  1828.  To  his  third  period 
belong  his  master-works.  La  fiancee,  Fra 
Diavolo,  Leittocq,  Le  chrva!  de  bronze,  Le 
domino  noir,  Zanetta.  "With  the  Diamants 
de  la  couronne  (1811)  his  style  began  to 
expand  still  further,  and  he 
reached  the  apogee  of  that  form  ^  J\)Ww^'«b»,  ?<)vJ*^v«Jcuv  'i.^jui^J^  ^- w^^InqiA' | 
known  as  the  opera-comique.     To 

this  fourtli  period  belong  also  La  part  d'amour  1869. — B.  Jouvin,  D.  F.  E.  Auber, 
du  diable.  La  airhie,  and  Haydie.  Auber  j  sa  vie  et  ses  oeuvres  (Paris,  Heugel,  1861) ; 
was  at  once  the  greatest  and  the  most  Dwight's  Journal,  ii.  179;  xxii.  291;  E.  de 
characteristically  French  of  all  the  writers  Mirecourt,  Auber  (18.'5-l-58). 
of  opera  comique.  He  did  not  enter  upon  AUBERLEN,  SAMUEL  GOTTLOB, 
his   professional    career   until    the   age  of  born  at  Feilbach,  near  Stuttgart,  Nov.   23, 


berghre  chatelaine,  1820  ;  Emma,  1821  ; 
Leicester,  1823  ;  La  neige,  1823  ;  Le  concert 
a  la  cour,  1824  ;  Iji-ocadic,  1824  ;  Le  marnn, 
1825  ;  Fiorella,  182() ;  Le  timide,  1826  ;  La 
muelle  de  Portici,  Opera,  1828  ;  La  fiand-e, 

1829  ;    Le    diexi    et    la    bayadere,    Opi'ra, 

1830  ;  Fra  Diavolo,  1830  ;  Le  philtre,  Opura, 

1831  ;  Le  servient.  Opera,  1833 ;  Gastave 
in..  Opera,  1833  ;  Lestocq,  1834  ;  Le  cheval 
de  bronze,  1835  ;  Action,  1836  ;  Les  cha- 
perons blancs,  183G  ;  L'AmhaAsadrice,  1836  ; 
Le  domino  noir,  1837  ;  Le  lac  des  fees,  Opi'ra, 
1839  ;  Zanetta,  1840  ;  Les  diamants  de  la 
couronne,  1841  ;  Le  due  d'Olonne,  1842  ;  La 
jxirt  du  Diable,  1853  ;  La  siriine,  1844  ;  La 
barcarolle,  1845  ;  Haijdec,  1847  ;  L'rnfant 
prodigue.  Opera,  1850  ;  Zerline,  Opera,  1851 ; 
Marco  Spada,  1852  ;  Jenntj  Bell,  1855  ;  Ma- 
non  Lescaut,  185(>  ;  La  Circassienne,  1861  ; 

I  Jjo,  Jiancee  du  roi  de  Garbe, 

/Y  ,  ijti^  1864  ;  Jje premier  jour  de 

•^  ''^  /    bonheur,    1868  ;   lUves 


( 


twenty-nine  ;  his  last  opera.  Roves  d'amour, 
was  written  at  the  age  of  eighty-five.  If 
his    genius    showed    symptoms    of    decay 


1758,  died  at  Ulm  after  1824.  Organist ; 
after  having  occupied  positions  as  conduc- 
tor,   Conzertmeister,  and   organist   at  Zii- 


in    the   last   few   years   of    his   life,    some   rich,  Stuttgart,  Zofingen,  Winterthur,  Tii- 
of  his  very  best  work  was  done   when  he   bingen,  and  Schaffhausen,  under  constant 


adversities,  which  he  lias  described  in  an 
autobiography  (Ulm,  1824),  he  was  finally 


was   over   sixty.     In  1825  he   was   named 

chevalier  of  the  Legion  of  Honour,  and  was 

admitted    member    of   the   Academic    des   appointed  oi-ganist  and  musical  director  at 

Beaux    Arts    de    llnstitut    in    1829.      He  ^  the   Cathedral    of   Ulm  iu  1819.     Works: 

wrote  forty-two  operas  (not  counting  those   Lob  der  Poesie,  Lob  der  Musik,  cantatas ; 


which  he  wrote  in  collaboration  with  others), 
besides  many  ballets  and  occasional  pieces. 


Das  Fest  der  Christen  auf  Golgotha,  orato- 
rio ;    Mass  ;    Seclis   moderne    Walzer    fiir 


In  the  following  list,  all  were  brought  out   Clavier,  op.  7  (Augsburg,  1799)  ;  Euterpens 
at  the  Opera  Comique  in  Paris  except  the   Opfer  am  Altar  der  Gi-azien  (1801);  other 


87 


A  LIBERT 


collections  of  dances,  etc.,  for  pianoforte  ; 
Forty  melodies  for  male  voices  (Muuich, 
183-1:) ;  Fifty  songs  for  two,  three,  and  four 
voices  (Esslingen)  ;  etc. — Fetis. 

AUBEET,  JACQUES  (the  elder),  born 
in  France,  end  of  17th  century,  died  at 
Belleville,  near  Paris,  in  1753.  He  was 
violinist  in  the  roj'al  band  in  1727,  first 
violinist  in  the  orchestra  of  the  Oprra  and 
in  the  Concerts  Spirituels  in  171:8,  in  which 
year  he  became  leader  of  the  band  and  di- 
rector of  the  Due  de  Bourbon's  private  mu- 
sic. Works :  5  books  of  violin  sonatas, 
with  a  bass  ;  12  suites  en  trio  ;  2  books  of 
concertos  for  four  violins,  violoncello,  and 
bass  ;  airs  and  minuets  for  two  violins  and 
bass  ;  La  paix  trioraphante,  opera  (1713)  ; 
Diane,  ballet  divertissement,  (with  Bour- 
geois, 1721) ;  Le  ballet  de  24  heures  (1722); 
La  reine  des  Peris,  words  by  Fuselier 
(1725)  ;  La  fete  champetre  et  guerriere 
(174:6)  ;  Le  ballet  de  Chantilly,  cantata, 
Paris,  1728.— Fetis  ;  Grove. 

AUBEET,  PIEEEE  FEANgOIS  OLI- 
VIEE,  born  at  Amiens  in  1763,  died  (?). 
Violoncellist,  member  of  the  orchestra  of 
the  Opera  Comique,  Paris,  for  twenty-five 
years.  Works  :  3  quartets  for  two  violins, 
viola,  and  violoncello,  op.  1  (Ziirich,  1796)  ; 
3  do.,  op.  2  ;  3  duets  for  violoncellos,  op. 
3  ;  3  do.,  op.  5  ;  do.,  op.  6  ;  do.,  oj).  7  ; 
fitudes  for  violoncello,  followed  by  thi-ee 
duets  and  three  sonatas,  ofi.  8  ;  8  books  of 
sonatas.  He  has  also  published  two  meth- 
ods for  violoncello. — Ft'tis. 

AUBEEY  DU  BOULLEY,  PEUDENT 
LOUIS,  born  at  Verneuil  (Eure),  Dec.  9, 
1796,  died  there,  February,  1870.  Instru- 
mental composer,  tirst  instructed  by  his 
father,  who  was  a  good  musician.  At  the 
age  of  five  be  was  able  to  read  music  at 
sight,  and  at  ten  played  difficult  concertos 
on  the  flute  and  on  the  horn.  In  1808  he 
was  sent  to  Paris,  and  studied  at  the  Con- 
servatoire, under  Monsignj-,  Mehul,  and 
Cherubini  until  1815  ;  returned  to  Ver- 
neuil, where  he  seized  every  opportunity 
to  take  part  in  concerts,  given  by  artists 


there  and  in  the  neighborhood.  Obliged 
to  live  in  the  country  from  1827  ou  account 
of  his  health,  he  practised  agriculture,  pub- 
lished a  method  of  instruction  entitled 
"  Grammaire  musicale"  in  1830,  and,  on  the 
organization  of  the  National  Ciuard  through- 
out France,  formed  at  Verneuil  a  militarj' 
band  of  forty,  which  led  to  the  institution 
of  similar  musical  unions  among  the  rural 
pojjulation.  His  compo.sitious,  consisting  of 
sonatas,  and  marches  for  the  pianoforte, 
quartets,  trios,  and  other  chamber  music, 
number  156  works,  a  complete  list  of  which 
may  be  found  in  :  Socii'to  Philharmonique  de 
I'Eure,  de  I'Orne  et  d'Eure-et-Loire  (L'Aigle, 
Ginoux,  1866).  His  comic  opera,  Les 
amants  querelleurs,  received  at  the  Opera 
Comique,  was  given  at  the  Gj'mnase  in 
1824,  arranged  as  a  vaudeville,  for  which 
purpose  the  author  of  the  libretto  had  with- 
drawn it. — Fetis  ;  do.,  Supplement,  i.  30. 
AUDEAN,  EDMOND,  born  at  Lyons, 
April  11,  1842,  still 
living,  1888.  Dra- 
matic composer,  son 
of  the  tenor  Marius 
Audran,  pupil  at  the 
Ecole  Niedermeyer, 
Paris,  where  he  won 
the  prize  for  compo- 
sition in  1859  ;  set- 
tled with  his  father, 
in  1861,  at  Marseilles, 
where  he  is  maltre  de  ehapelle  at  St.  Joseph's. 
Works  :  L'Ours  et  le  Pacha,  comic  opera, 
given  at  Grand  Theatre,  Marseilles,  1862  ; 
La  chercheuse  d'esprit,  ib.,  1864 ;  La  Niver- 
naise,  ib.,  Gymnase,  1866  ;  Le  petit  Poucet, 
operette,  ib.,  1868  ;  Le  grand  Mogol,  do., 
ib.,  1877  ;  Les  noces  d'Olivette,  comic  opera, 
Bouffes  Parisiens,  Paris,  1879  ;  La  maxcotle, 
opera-bouffe,  ib.,  1880.— Fetis,  Supplement, 
i.  33. 

AUF  HOHEN  BEFEHL,  comic  opera, 
text  and  music  by  Carl  Beinecke,  repre- 
sented at  the  Stadttheater,  Hamburg,  Oct. 
1,  1886.  The  libretto  is  an  adaptation  of 
Eiehl's   novel,    "Ovid    bei   Hofe."     It  was 


AUF 


conclucted  by  the  composnr,  and  met  with 
decided  success. 

AUF !  IM  TRIUMPF  ZUM  CAPITOL. 
See  Rienzi. 

AUTFORDERUNG  ZUM  TANZ  (Invi- 
tation a  la  valse),  rondo  brillant  for  piano- 
forte, by  Weber,  op.  G.5,  dedicated  to  bis 
Caroline,  composed  1819,  first  original  edi- 
tion, Berlin  (Schlesinger).  This  happy  in- 
spiration must  forever  remain  a  standard 
work.  You  seem  to  see  the  respectful  lover 
approaching  the  object  of  his  affection,  and 
claiming  her  hand  for  the  dance.  The  coy 
damsel  at  first  but  half  consents,  but  after 
some  slight  hesitation  is  persuaded.  En- 
circled by  the  arm  of  her  happy  partner, 
she  listens  to  the  accents  of  passionate  love 
whispered  in  her  ear,  to  which  she  replies 
in  subdued  but  encouraging  tones.  The 
dance  becomes  more  animated,  and  the  hap- 
py swain  carries  his  future  bride  through 
the  mazy  throng  till  the  last  chord  of  the 
exciting  dance.  Then  demurely  he  bows 
his  farewell.  Among  the  different  arrange- 
ments of  this  piece,  whose  popularity  is 
unexampled,  the  following  deserve  special 
mention  :  One,  with  somewhat  larger  treat- 
ment of  the  pianoforte,  by  Henselt,  and  a 
still  more  elaborate  one,  "  with  arabesques 
for  concei't  performance,"  by  Tausig  (See 
von  Lenz,  Drei  grosse  Klavier-Virtuosen)  ; 
one  for  eight  hands,  by  Otto  Dresel,  and 
Berlioz's  matchless  transcription  for  full  or- 
chestra (See  Berlioz,  Mc' moires,  330).  It 
has  also  been  arranged  for  soprano  with 
pianoforte  accompaniment,  to  the  words, 
Vieni,  o  cara,  etc. — Benedict,  153. 

AUFFMANN,  JOSEF  ANTON  XAVER, 
born  about  1720,  died  in  1778.  Organist, 
and  Kapellmeister  at  Kempten  about  17.50. 
His  three  concertos  for  organ,  with  orches- 
tra (Augsburg,  175Jr),  entitle  him  to  remem- 
brance.— Fetis  ;  Schilling. 

AUFFSCHNAITER,  BENEDICT  AN- 
TON, Kapellmeister  at  Passau,  beginning 
of  the  17th  century.  Works  :  Concors  dis- 
cordia,  consisting  of  six  overtures  (Nurem- 
berg, 1695)  ;  Dulcis  fidium  harmonica,  sona- 


tas (ib.,  1099) ;  Vesperte  soleranissimse,  op. 
5  (Augsburg,  1709)  ;  Alaudsc  quinque,  con- 
taining five  masses,  op.  6  (ib.,  1711)  ;  Duo- 
dena offertoria,  op.  7  (Pas.sau,  1719)  ;  Cym- 
balum  Davidis  vespertinum,  op.  8  (ib., 
1729).— Fetis ;  SchiUing. 

AUGURIO  DI  FELICITA  (The  Happy 
Augury),  cantata  for  three  voices,  text  by 
Metastasio,  music  by  Reutter,  produced  in 
SchOnbrunn,  17-19.  Characters  represented  : 
Arciduchessa  prima,  Ai'ciduchessa  seconda, 
Arciduchessa  terza. 

AULAGNIER,  ANTONIN,  born  at  j\[a- 
nosque  (Basses-Alpes)  in  1800,  still  living, 
1888  (?).  Composer,  pupil  of  Benoist  at  the 
Conservatoire,  Paris,  where  he  afterwards 
established  himself  as  a  music  publisher. 
Works  :  2  masses  for  three  voices  ;  O  Salu- 
taris,  do. ;  Domine,  salvum  fac  regem,  do.  ; 
Variations,  rondos,  melanges,  etc.,  for  piano- 
forte ;  Square  dances  for  several  instru- 
ments ;  Romances  for  one  and  two  voices  ; 
Faux-bour<lons  roraains  et  parisiens,  for  3 
voices. — Fetis. 

AULETTA,  PIETRO,  flourished  in  Italy, 
first  half  of  the  18th  century.  Dramatic 
composer,  maestro  di  capjjella  to  the  Prince 
of  Belvedere.  Works  :  Ezio,  opera,  given 
in  Rome,  1728  ;  U  Marchese  Sgrana,  NajDles, 
Teatro  Nuovo,  1738  ;  L"  Amor  costante,  ib., 
Teatro  de'  Fiorentini,  1739  ;  Orazio,  Venice, 
1748  ;  H  Giocatore,  H  maestro  di  musica, 
interludes,  given  in  Paris,  1752.  Domenico 
Auletta,  probably  his  son,  is  the  author  of 
an  opera  buffa.  La  loeandiei'a  di  si)irito, 
given  in  Naples  about  1820. — Fetis. 

AUMANN,  DIETRICH  CHRISTIAN, 
flourished  about  1789  in  Hamburg,  where 
he  was  organist.  Works  :  Choralbuch  fiir 
das  neue  Hamburgiselie  Gesangbueh  (Ham- 
burg, 1787)  ;  Hochzeit  Cautate  (ib.,  1787)  ; 
Oster  Oratorium  (ib.,  Matthiesen,  1788)  ; 
Das  Hocheuauer  Schiffgeschrei,  for  four 
voices,  two  violins,  and  bass.  A  comic  opera, 
Das  neue  Rosenmiidchen,  was  given  in  Ham- 
burg, 1789. — Gerber,  N.  Lex. ;  Schilling. 

ATOIONT,  HENRI  RAYJIOND,  born  in 
Paris,  July  31,  1818,  still  living,  1888.    Vio- 


A  UNA 


liuist,  pupil  at  the  Conservatoire  of  Guerin 
and  of  Baillot,  wou  the  second  prize  for  vio- 
lin in  1837,  then  studied  composition  until 
1840.  Works  :  Air  varie,  for  violin  and  or- 
chestra (Paris,  Richault)  ;  Les  caracteres, 
three  fantaisies  for  violin  (ib.,  Challiot)  ; 
Duo  coucertant  for  pianoforte  and  violin 
(ib  )  ;  Fautaisie  on  a  French  theme,  for  do. 
(ib.)  ;  do.  on  an  Italian  theme  (ib.) ;  do.  on 
a  German  theme  (ib.). — Fetis. 
A  UNA  FONTE.  See  Purilani. 
AU  PLAISIR,  A  LA  FOLIE.  See  Zampa. 
AURELIANO  IN  PAL:MIRA  (Aurelian  in 
Palmyra),  Italian  opera,  music  by  Rossini, 
represented  in  Milan,  1811.  It  was  unsuc- 
cessful, but  some  of  its  principal  parts  have 
been  preserved  in  other  woi-ks  of  the  com- 
poser. The  melody  of  the  first  chorus, 
"  Sposa  del  grande  Osiride,"  which  had  jsre- 
viously  done  duty  as  a  chorus  in  Giro  in 
Babilonia,  is  now  the  cavatina  of  Almaviva, 
"  Ecco  ridente  in  cielo,"  in  II  barhiere  di 
Siviglia,  and  the  overture  is  now  the  intro- 
duction to  the  same  work,  after  having  served 
meanwhile  as  the  overture  to  Elisabetta. 
Aureliano  failed  also  in  London. — Stendhal, 
Vie  de  R. ;  Edwards,  Life  of  R.,  65. 

AURENHAMMER,  JOSEFA,  born  in 
Vienna  about  1776,  died  there  in  1841. 
Pianist,  pupil  of  jMozart,  Richter,  and  Kotze- 
luch  ;  gave  annual  concerts  at  the  Burg- 
theater,  and  was  especially  skilful  iu  extem- 
jjorizing,  and  varying  a  given  theme.  She 
composed  63  works  for  her  instrument. — 
Mendel ;  Schilling. 

AURISICCHIO,  ANTONIO,  flourished 
about  1750  in  Rome,  where  he  died  young. 
Maestro  di  cappella  at  S.  Giacomo  degli 
Spagnuoli,  Rome.  His  works  consist  of 
psalms,  motets,  cantatas,  and  masses,  and 
an  opera,  Attalo,  given  in  London,  1758. — 
Ft'tis. 

AU  SEUL  PLAISm  FIDDLE.  See 
Robert  le  Diable. 

AUSSI  NOMBREUX  QUE  LES 
ETOILES.     See  I'rophrte. 

AUSTIN,  WALTER,  English  composer, 
contemporary.    Works  :  The  Fii-e  King,  can- 


tata ;  The  Stepmother,  operetta  ;  Overtures 
for  orchestra ;  Pianoforte  pieces  ;  Songs,  etc. 

AUTERI-5L\NZOCCHI,  SALVATORE, 
born  at  Palermo,  Sicily,  Dec.  25,  1845,  still 
living,  1888.  Dramatic  composer,  pupil  of 
Platania,  and  in  Florence  of  Mabellini. 
Works  :  Marcellina ;  Dolores,  given  at  Flor- 
ence, Teatro  della  Pergola,  1875  ;  H  Negri- 
ero,  Barcelona,  1878  ;  Stella,  Piaeenza,  1880. 
■ — Fetis,  Sujjjjlement,  i.  34. 

AUTRIVE,  JACQUES  FRAN(,'OIS  D', 
born  at  Saint-Quentin  (Aisne),  in  1758,  died 
at  Mons,  Belgium,  in  December,  1824.  Vio- 
linist, pupil  of  Jaruovich  ;  unfortunately 
became  deaf  at  the  age  of  thirty-five,  and 
thenceforth  devoted  himself  more  to  com- 
position. Works  :  Several  concertos,  duets, 
and  other  works  for  violin  ;  Songs. — Fetis. 

AUVERGNE,     See  D'A  n  ivrgne. 

AUVERJAT,  JEAN  DE  L',  French 
composer  of  clmi-ch  music,  maitre  de  mu- 
sique  of  the  Eglise  des  Innocents,  Paris, 
in  the  second  half  of  the  17th  centur3'. 
Works :  Missa,  Iste  confessor,  for  4  voices 
(Paris,  Ballard) ;  Missa,  Legem  pone,  do. 
(ib.)  ;  Missa,  O  gloriosa  Domina,  do.  (ib.)  ; 
Missa,  Tu  es  Petrus,  for  5  voices  (ib.) ;  Jlissa, 
Ne  moreris,  do,  ( ib  )  ;  Missa,  Confitebor 
Domine,  do.  (ib.) ;  Missa,  Fundamenta  ejus, 
do.  (ib.).— Fetis. 

AUX  JOURS  DE  DI]\IANCHE.  See 
FausI,  Gounod. 

ALTX  PIEDS  DE  LA  MADONE.  See 
Zawpa. 

A  U  X  C  O  U  S  T  E  AU  X  (Hautcousteaux), 
ARTHUR,  born  iu  Beauvais,  Picardy  (Ma- 
quin)  or  Saint  Quentin  (Gomart),  died  in 
1656.  He  was  a  singer  in  the  church  of 
Noyon  (1627)  ;  music  teacher  in  the  College 
of  Saint-Quentin,  maitre  de  la  Sainte  Cha- 
I  pelle,  and  haut-contre  in  the  chapel  of  Louis 
Xni.,  Paris.  From  the  advanced  style  of 
his  music  he  is  thought  by  Fctis  to  have 
studied  the  Italian  composers.  He  was  the 
author  of  numerous  masses  and  chansons, 
among  which  is  a  collection  of  chansons 
dedicated  to  Molt'-.— Grove  ;  Fetis  ;  Men- 
del, i.  306 ;  Nouv.  biog.  gen. 


90 


AVARO 


AVMIO,    L'    (The  Miser),   Italian   opera,    ISth  century,  died  about  1786.     Dramatic 


music  by  Anfossi,  represented  in  1775 ; 
music  by  Sarti,  Venice,  1777  ;  music  by 
Rutiui,  Rome,  1789  ;  music  by  J.  S.  Mayr, 
Venice,  1799  ;  music  by  Orlandi,  Bologna, 
1801  ;  music  by  Josef  Haydn,  Paris,  1802  ; 
music  by  Bianchi,  Paris,  1804  ;  music  by 
Fioravanti,  about  1804  ;  music  by  Cordelia, 
Naples,  about  1810  ;  music  by  Conte  Miari, 
Venice,  1811  ;  music  by  Savij,  Parma, 
1840 ;  music  by  Quarenghi,  1863 ;  mu- 
sic by  C.  Brizzi,  Bologna,  1877.  L'  avaro 
burlato  (The  Miser  Tricked),  Italian  comic 
opera,  by  Giovanni  Puisiello,  Prague,  1784  ; 
by  Giuseppe  Sborgi,  1873  ;  by  Margaria, 
Turin,  1877.  L'  avai-o  deluso  (The  Miser 
Deluded),  by  Sacchini,  Loudon,  1778.  L' 
avaro  punito  (The  Miser  Punished),  by  Ga- 
lujjpi,  about  1760. 

AVE,  VERUM  CORPUS,  motet  for 
chorus,  with  string  accompaniment,  by  Mo- 
zart, composed  at  Baden,  near  Vienna,  in 
June,  1791. 

AVELA,  TOMiSO  LULS  VITTORIO 
D',  Spanish  comisoser,  living  about  the 
close  of  the  16th  century.  He  published  the 
following  work :  Motecta  festorum  totius 
anni  cum  communi  sanctorum,  quatuor, 
quiuque,  sex  et  octo  vocibus  (Rome,  1585). 
— Fetis. 

AVISON,  CHARLES,  born  at  Newcas- 
tle-upon-Tyne, England,  in  1710,  died  there 
May  10,  1770.  Vocal  comjjoser  and  or- 
ganist, pupil  of  Geminiani ;  studied  also  in 
Italy.  In  1736  he  became  organist  of  the 
Church  of  St.  Nicholas,  Newcastle.  He  was 
the  author  of  "  An  Essay  on  Musical  Ex- 
pression" (1752),  and  he  edited,  with  John 
Garth,  organist  of  Durham,  Marcello's 
Psalms  (1757),  adapted  to  English  words. 
Works :  5  concertos  for  a  full  band  of 
stringed  instruments  ;  2  sets  of  sonatas  for 
harpsichord  and  two  violins ;  Quartets  and 
trios.  The  once  popular  air, "  Sound  the  loud 
timbrel,"  is  adapted  from  one  of  his  concer- 
tos.— Hawkins  ;  Grove  ;  Brand,  Newcastle. 


composer  and  violoncellist.  Works  ;  Bere- 
nice, ojjera,  given  at  Najales  about  1730  ;  H 
mondo  della  luna,  do.,  ib.,  about  1732  ; 
Gioa,  rii  di  Giuda,  oratorio  ;  La  morte 
d'  Abele,  do. ;  Twelve  sonatas  for  violin  and 
violoncello,  op.  1  (Amsterdam,  1732) ;  Duets 
for  violin  and  violoncello.  Tlie  manuscript 
scores  of  his  two  oratorios  are  in  the  Royal 
Library  at  Berlin. — Peti.s. 

AVVISO  AI  MARITATI,  L'  (Advice  to 
the  Married),  Italian  opera  bufta,  music  by 
Cimarosa,  represented  in  Najile.s,  1780;  mu- 
sic by  Isouard,  his  first  opera,  Florence, 
1795  ;  music  by  J.  S.  Mayr,  Venice,  1798 ; 
music  by  Caruso,  Rome,  1810  ;  nuisic  by 
Henri  Cohen,  written  for  Naples,  1838,  but 
not  produced. 

AWAKE,  MY  SOUL,  hymn,  music  by 
Franrois  Hippolyte  Barthelemon,  written  in 
London,  about  1780. 

AXUR,  RI5  D'  ORMUS.  See  Tarare. 
AYLWARD,  THEODORE,  born  in  1731, 
died  in  London,  Feb.  27,  1801.  He  was 
awarded  a  prize  medal  by  the  Catch  Club 
in  1769,  and  became  professor  of  music  in 
Gresham  College  in  1771  ;  organist  and 
choirmaster  at  St.  George's  Chapel,  Wind- 
sor, in  1788.  Mus.  Doc,  Oxford,  1791. 
Works  :  6  lessons  for  the  hari^sichord,  or- 
gan, or  pianoforte,  op.  1 ;  Elegies  and  glees, 
op.  2  (1785)  ;  Music  for  the  dramas  Harle- 
quin's Invasion,  Midsummer  Night's  Dream, 
etc.  ;  8  canzonets  for  two  sopranos ;  Glees ; 
Church  music. — Grove. 

AYRTON,  EDMUND,  born  at  Ripon, 
England,  in  1734,  died  in  Westminster, 
London,  May  22,  1808.  Organist,  pupil  of 
Dr.  Nares.  He  was  elected,  when  quite 
young,  organLst  of  the  collegiate  church  of 
Southwell ;  became  in  1764  a  gentleman  of 
the  Chapel  Royal,  and  soon  after  vicar-choral 
of  St.  Paul's,  and  one  of  the  lay  clerks  of 
Westminster  Abbey.  In  1780,  on  the  res- 
ignation of  Dr.  Nares,  he  was  appointed 
master   of    the   children   of  His   Majesty's 


AVONDANO,  PIETRO  ANTONIO,  born  ^  chapels,  which  post  lie  held  until  1805.     He 
at    Naples    about    the    beginning   of  the  received  the  degree  of  Mus.  Doc.  from  the 


AZEMIA 


Uuiversity  of  Cambridge  in  1784,  aud  was  j 
afterwards  admitted  ad  eundem  by  the  Uni- 
versity of  Oxford.  He  was  given  tliis  for 
bis  autbem,  Begin  unto  my  God  with  tim- 
brels, w^hich  was  performed  in  St.  Paul's 
Cathedral,  July  28,  1784,  the  day  of  general 
thanksgiving  for  the  termination  of  the 
American  Revolutionary  War.  Works :  Two 
complete  morning  and  evening  services,  sev- 
eral anthems,  and  other  church  composi- 
tions. William  Ayrton  (born  Feb.  24, 1777, 
died  May  8,  1858),  musical  critic  and  editor, 
was  his  son. 

AZEIVIIA,  French  opera-comique  in  three 


Dugazon  as  Azemia. 

acts,  text  by  Lachabeaussi^re,  original  sub- 
ject, music  by  Dalayrac,  represented  at  the 
Italieus,  Paris,  May  3,  1787.  One  of  the 
composer's  best  works.  Its  "Ah!  que  je 
sens  d'impatience,  mon  cher  pays,  de  te  re- 
voir,"  had  a  universal  popularity.  Like 
other  of  the  composer's  works,  the  finale  is 
notable  for  the  skilful  and  fluent  treatment 
of  the  choral  parts.     The  character  of  Aze- 


mia was  one  of  the  most  remarkable  crea- 
tions of  Mme  Kosalie  Dugazon  (nee  Le- 
fevre,  born  in  Berlin  in  1755,  died  in  Paris, 
Sept.  22,  1821),  who  played  with  unvarying 
success  until  1806,  when  she  retired  from 
the  stage.  The  classes  of  parts  in  which 
she  excelled  are  still  known  on  the  French 
stage  as  "jeunes  Dugazon"  and  "meres 
Dugazon." 


BA.\KE,  FEEDINAND  GOTTFRIED, 
born  at  Heudeber,  near  Halberstadt, 
Prussian  Saxony,  April  15,  1800,  still  liv- 
ing, 1888.  Pianist  and  organist,  pupil  of 
the  brothers  Samuel  and  Karl  MiiUer  at 
Halberstadt,  of  Hummel  at  Weimar,  and,  in 
theory,  of  Friedrich  Schneider  at  Dessau. 
He  was  organist  at  Halberstadt,  Wolfen- 
biittel,  and  Miihlhauseii,  but  returned  to 
Halberstadt  in  1838  to  conduct  a  singing 
society,  and  has  done  much  for  the  promo- 
tion of  musical  life  there.  Works :  6  songs, 
op.  1  (LeiiJsic,  Breitkopf  &  Hiirtel) ;  6  polo- 
naises for  pianoforte,  op.  2  (ib.) ;  Rondo  for 
do.,  op.  3  (Berlin,  Trautwein)  ;  6  songs,  op. 
5  (ib.)  ;  Grand  variations  on  an  original 
theme,  op.  4  (Mainz,  Sehott) ;  Grand  sonata 
for  pianoforte,  oj).  6  (Leipsic,  Breitkopf  & 
Hiirtel) ;  Odeon,  collection  of  new  composi- 
tions, 1st  and  2d  vol.  (Wolfenbiittel,  Hart- 
manu) ;  Variations  and  rondo,  op.  9  (ib.)  ; 
Amusement,  for  pianoforte,  op.  10  (ib.) ;  So- 
natine,  op.  12  (ib.)  ;  12  waltzes,  op.  11 
(Leipsic,  Hofmeister)  ;  Prelude  for  organ 
(Erfurt,  Kih-ner) ;  Songs  for  four  voices, 
with  pianoforte,  op.  13  (Halberstadt,  Frantz); 
Male  choruses  for  four  voices,  op.  IG  (ib.) ; 
Salve  Regina,  for  four  voices,  with  orches- 
tra ;  Die  Verklarung  des  ErlOsers  im  Tode, 
cantata,  performed  in  Halberstadt  Cathe- 
dral, 1822.— Fi'tis  ;  Mendel. 

BA.\L,  ERHORE  UNS,  chorus  of  Priests 
of  Baal,  in  Mendelssohn's  Elian,  Part  I. 

BABAN,  GRACIAN,  musical  director 
of  the  Cathedral  of  Valencia,  Spain,  in 
1G50-65.  Masses  and  motets,  written  by 
him  for  several  choirs,  are  preserved  there. 


BABBI 


BABBI,  CRISTOFORO,  born  at  Ceseua, 
Italy,  iu  17i8,  died  at  Dresden  in  1814. 
Violinist,  pupil  of  Paolo  Albergbi  ;  became, 
iu  17',)0,  Coiizeitmeister  to  the  Elector  of 
Saxony.  Works  :  Concertos  for  the  violin  ; 
Symphonies  for  church  and  chamber ;  Quar- 
tets and  duets  for  the  flute ;  Augusta,  can- 
tata (1789).— Mendel ;  Schilling. 

BABELL,  WILLIAM,  born  in  England 
in  lU'JU,  died  iu  Loudon  in  1723.  Violinist 
and  organist,  i^ujsil  of  Dr.  Pepusch  ;  was  a 
member  of  the  Royal  Baud  of  Music  and 
organist  of  All -Hallows  Church,  Bread 
Street,  London.  Works  :  12  solos  for  vio- 
lin or  oboe ;  12  solos  for  flute  or  oboe  ;  6 
concertos  for  octave  flutes  and  violins. 

BACCELLI,  DOMENICO,  Italian  dra- 
matic composer  of  the  ISth  century.  He 
went  to  Paris  iu  17GG  with  his  wife,  an 
actress  of  reputation,  and  iu  1770  success- 
fully produced  the  comic  opera,  Le  uouveau 
marie,  ou  les  imjiortuns,  at  the  Comedie 
Italieune.     In  1779  he  returned  to  Italy. 

BACCELLI,  Padre  MATTEO,  born  at 
Lucca  about  1680,  died  there  in  175G. 
Church  comjjoser,  jii'ofessor  of  music  at 
the  seminary  of  San  Giovanni.  He  wrote 
masses,  graduals,  motets,  and  psalms  for 
four  voices,  a  Domine,  a  Dixit,  and  a  Mag- 
nificat for  do.,  with  instrumental  accompa- 
niment.— Fetis,  Supplement,  i.  36. 

BACCHINI,  CESARE,  born  in  Flor- 
ence in  1816.  Dramatic  comjjoser,  pujjil 
of  Aniehini  on  the  jjianoforte  and  in  har- 
mony, of  Giovacchino  Giovacchini  on  the 
violin,  and  of  Mabellini  in  composition. 
Works — Operas  :  II  quadro  jjarlante,  given 
at  Florence,  1871  ;  La  secchia  rapita  (with 
Deschamps,  Felice,  Giraldini,  Tacchinardi, 
and  Usiglio),  ib.,  Teatro  Goldoni,  April, 
1872  ;  La  caeciata  del  Duco  d'  Ateue,  ib., 
Teatro  Pagliano,  Feb.  1871  ;  Delmira,  ib., 
Dec.  5,  1878.— Fetis,  Supplement,  i.  36. 

BACCHUS  AND  ARIADNE.  See  Ari- 
anna. 

BACCHUS,  EVER  FAIR  AND  YOUNG, 
bass  air  in  F  major,  iu  Handel's  Ale.rander's 
Feast,  Part  I. 


BACCI,  PIETRO  GIACOMO,  born  at 
Perugia  about  the  middle  of  the  17th  cen- 
tury. He  composed  the  opera  Abigail, 
given  at  Citta  della  Pieve,  Province  of  Pe- 
rugia, in  1691. — Fotis. 

BACCUSI,  IPPOLITO,  lived  iu  Verona, 
Italy,  latter  half  of  the  16th  centur}-.  He 
was  maestro  di  cappella  of  the  Cathedral  of 
Verona  in  1.590.  His  works  include  masses, 
madrigals,  motets,  and  psalms,  published 
in  Venice  during  his  lifetime  (1592)  by 
Gardpiio,  Vincenti,  and  Ramjiazetti ;  others 
are  in  the  volume  dedicated  to  Palestrina 
by  fourteen  Italian  composers,  and  in  oth- 
er publications  of  the  day.  Baccusi  was 
amoug  the  first  to  introduce  instruments 
as  an  accomjianimeut  to  the  voices  iu 
church  singing,  and  this  system  is  applied 
in  two  volumes  of  his  works,  one  contain- 
ing vesi^er  jssalms  and  two  magnificats  ;  the 
title  of  the  other  book  is :  Hip25olyti  Bac- 
cusi, Eccl.  Cath.  Veronse  musicse  magistri, 
missse  tres,  tuni  viva  voce  turn  omni  in- 
strumentorum  genere  cantatu  accommoda- 
tissimte,  cum  octo  vocibus  (Amadiuo,  Ven- 
ice, 1596).— Fetis. 

BACH.  The  Bach  familj'  jiresents  by  far 
the  most  remarkable  instance  of  hereditarj' 
genius  in  all  history.  In  seven  con.secutive 
generations  we  can  count  no  less  than  forty- 
nine  musicians,  of  whom  at  least  twenty  de- 
serve to  be  classed  as  important  figures  in 
musical  history.  Of  the  eldest  member  of 
the  family  to  whom  the  genealogy  is  trace- 
able, Hans  Bach,  nothing  is  known  save 
that  he  was  one  of  the  trustees  of  the  Parish 
(Gemeinde-Vormundschaftsglied)  of  Wech- 
mar,  a  little  town  near  Gotha,  in  1561.  The 
first  musical  member  of  the  family  was  Veit 
Bach  (probablj'  sou  of  this  Hans),  who  has 
generally  been  looked  upon  as  the  head  of 
the  family  tree.  He  was  a  miller  or  baker 
(possibly  both),  and  used  to  delight  in  play- 
ing on  the  cythringen  (diminutive  for  cith- 
ara,  an  instrument  of  the  guitar  tribe) ;  he 
left  his  native  place,  and  settled  somewhere 
in  Hungary  ;  a  tradition,  probably  origi- 
nated by  Korabiusky,  fixes  Presburg  as  the 


BACH 


place,  but  this  is  wholly  without  authentic 
fouudation.  Be  this  as  it  may,  the  Jesuit 
troubles  in  Hungary,  under  Eudolph  11., 
drove  Veit,  with  other  Lutherans,  from  the 
country  (probably  before  1597),  and  he  re- 
turned to  Wechmar.  How  many  children 
he  had  is  not  known.  The  genealogy  men- 
tions a  Lips  Bach  (died  Oct.  10,  1G20),  three 
of  whose  sons  are  said  to  have  been  sent 
to  Italy,  by  the  reigning  Count  of  Schwarz- 
burg-Arnstadt,  to  study  music.  But  it  is 
merely  conjectural  that  Lips  was  Veit's  son, 
and  a  good  deal  of  evidence  points  to  the 
rest  of  the  story  being  apocryphal.  It  is 
known,  however,  with  tolerable  certainty, 
that  Veit  had  at  least  two  sous :  one  was 
Hans  (known  as  "  der  Spielmann ")  ;  the 
name  of  the  other  is  not  known  ;  possibly  it 
may  have  been  Lijjs.  But  Hans  and  his 
unnamed  brother  were  the  heads  of  the  two 
main  branches  of  the  Bach  family,  which 
branches  unite  in  Veit.  Both  branches  were 
rich  in  musicians,  all  of  whom  studied  in 
Germany,  a  very  notalsle  fact  at  a  period 
when  it  was  the  almost  universal  custom  for 
musicians  of  any  standing  to  go  to  Italy  to 
finish  their  musical  education.  In  course 
of  time  Arnstadt,  Erfurt,  Steinach,  and 
Meiuingen  became  the  headquarters,  so  to 
speak,  of  the  family,  which  was  a  singularly 
united  one,  very  distant  cousins  (in  younger 
generations)  living  on  terms  of  the  greatest 
intimacy,  and  mutually  helloing  one  another 
in  their  profession.  The  predominant  fam- 
ily traits,  apart  from  a  genius  for  music, 
which  grew  apace  until  the  fourth  genera- 
tion after  Veit  Bach,  were  a  certain  persist- 
ent honesty  and  kindliness  of  character,  an 
almost  childlike  religious  faith  and  adhe- 
rence to  the  Lutheran  Church,  a  great  ca- 
pacity for  hard  work,  and  an  equally  great 
incapacity  for  living  unmarried. 

BACH,  (CARL)  PHILIPP  EMANUEL 
[20],  born  at  Weimar,  March  14,  1714,  died 
at  Hamburg,  Sept.  (Dec.  ?)  14,  1788.  The 
third  son  of  Sebastian  [15].  His  father 
originally  intended  him  to  study  philoso- 
phy, and  sent  him  to  the  Thomas-schule  at 


Leipsic  ;  he  afterwards  studied  law  at  the 
universities  at  Leijssic  and  Frankfort-ou- 
the-Oder,  but  his 
passion  for  music 
was  so  strong  that 
he  studied  the  art 
more  thoroughly 
than  is  generally 
the  case  with  ama- 
teurs, and,  when 
he  went  to  Frank- 
fort, was  already  a 
cultivated  musician 
and  a  brilliant  clavecinist.  He  conducted  a 
singing  society  there,  for  which  he  com- 
posed some  music,  and  at  last  gave  up  the 
law  and  chose  music  for  his  profession.  In 
1746  he  went  to  Berlin,  and  was  made 
chamber-musician  and  clavecinist  to  Fred- 
erick the  Great.  He  had,  however,  to  give 
up  this  jjosition  in  1757  at  the  first  violent 
outbi'eak  of  the  Seven  Years'  War.  He 
went  to  Hamburg,  where  he  took  the  direc- 
tion of  the  music  in  a  church,  and  in  1767 
succeeded  Telemann  as  Musikdirector  of 
the  principal  church  there,  which  post  he 
continued  to  hold  until  his  death.  Emanuel 
Bach  was  one  of  the  least  musically  gifted 
of  Sebastian's  sons,  but  his  power  of  work, 
and  especially  his  great  intelligence  and 
general  culture,  stood  him  in  such  good 
stead  that  he  is  certainly  the  most  famous 
of  them.  The  influence  he  exerted  upon 
the  subsequent  development  of  the  art  of 
music  can  hardly  be  overrated  ;  he  is  prob- 
ably the  most  important  figure  in  the  trans- 
ition period  between  Sebastian  Bach  and 
Handel  on  the  one  hand,  and  Haydn  and 
Mozart  on  the  other.  In  his  works  we  find 
the  germs  (and  something  more)  of  the  cy- 
clical forms  (sonata,  symphony)  and  the 
homophonic  style  of  composition  which  be- 
long to  the  later  period  of  modern  music-. 
He  also  anticipated,  to  some  extent,  the 
change  in  treatment  of  the  orchestra  which 
was  completed  by  Haydn  and  his  successors. 
He  is  especially  important  in  the  history  of 
pianoforte  playing.    In  his  great  theoretical 


94 


BACH 


work,  "Versuch  liber  die  wahre  Art  das 
Clavier  zu  spielen,"  he  explained  and  devel- 
oped the  j)rinciples  set  down  hj  his  father. 
He  thus  may  be  regarded  as  the  true  foun- 
der of  the  modern  schools  of  pianoforte 
playing.  As  a  composer  be  was  elegant, 
finished,  and  pleasing  rather  than  great,  but 
he  was  the  man  of  all  others  best  fitted  to 
advance  the  art  of  music  in  his  day.  As  a 
performer  he  was  one  of  the  greatest  of  his 
time.  He  is  often  known  as  the  "  Berlin  " 
or  "Hamburg'"  Bach.  Works — Instrumen- 
tal :  IS  symphonies  for  orchestra  ;  Bi  mis- 
cellaneous pieces  for  wind  instruments  ;  11 
trios  for  flute,  violin,  and  bass  ;  7  do.  for  2 
violins  and  bass  ;  4  for  various  instruments  ; 
2  concertos  for  oboe  (also  for  pianoforte)  ; 
i  do.  for  flute  ;  3  do.  for  violoncello  ;  12 
soli  for  flute  ;  2  do.  for  viola  di  gamba  ; 
Solo  for  oboe  ;  do.  for  violoncello  ;  do.  for 
liarp  ;  Duet  for  flute  and  violin  ;  do.  for  2 
violins  ;  do.  for  2  clarinets.  For  ijianoforte  : 
52  concertos,  3  quartets,  59  trios,  195  sona- 
tas, 15  sonatinas,  24  minuets,  21  polonaises, 
4  duets,  9  solfeggi,  1  fugue,  2  marches,  24 
minor  j^ieces,  9  symphonies  arranged.  Vo- 
cal :  2  oratorios.  Die  hraelilcn  in  der  Wiiste, 
and  Die  Auferstehung  und  Himmelfahrt 
Jesu  ;  22  Passions ;  Many  can 
tatas  ;  Psalms,  motets,  hymns, 
etc. ;  Sanctus  for  2  choirs 
Melodies  to  Gellert's  sacrec 
songs  ;  Choruses,  arias,  secular  songs,  etc. 
— Allgem.  d.  Biogr.,  i.  744  ;  Bitter,  C.  Ph. 
E.  Bach,  etc.  (Berlin,  1868)  ;  Ft'tis ;  Grove ; 
Mendel  ;  Schilling. 

BACH,  CHRISTOPH  [3],  born  at  Wech- 
mar,  April  19,  1613,  died  at  Arnstadt,  Sept. 
14,  16G1.  The  second  of  the  thi-ee  musical 
sons  of  Hans  Bach  [1],  and  grandfather  of 
Sebastian  Bach  [15].  He  was  a  professional 
musician  (Kunstpfeifl'er),  and  attached  to 
the  household  of  the  Duke  of  Weimar  in 
that  capacity  ;  also  as  "  servant."  About 
1640  he  went  to  Prettin,  in  Saxony,  where 
he  married  Maria  Magdalena  Grabler,  whose 
father  was  probably  town-musician  there. 
lu  1642  he  was  member  of  a  company  of 


11- 


musicians  in  Erfurt,  whence  he  went,  in 
1653  or  1654,  to  Ai-nstadt,  where  he  re- 
mained until  his  death. 

BACH,  GEORG  CHRISTOPH  [7],  born 
at  Erfurt,  Sept.  6,  1642,  died  at  Schwein- 
furt,  April  24,  1697.  Eldest  sou  of  Chris- 
toph  Bach  [3].  He  was  at  first  employed 
(in  what  cajDacity  is  not  known)  at  a  school 
in  the  little  town  of  Heinrichs,  near  Suhl. 
In  1668  he  was  called  to  Themar,  near 
Meiningen,  where  he  became  cantor,  and 
twenty  years  later  he  moved  to  Schwein- 
furt,  where  he  held  the  same  position  until 
his  death.  A  composition  of  his  for  three 
male  voices,  with  string  accompaniment,  on 
the  text  of  a  psalm,  was  once  in  the  posses- 
sion of  Philipp  Emanuel  Bach,  but  has  since 
been  lost.  He  is  notable  as  the  ancestor  of 
the  branch  of  the  Bach  family  which  mi- 
grated to  Francouia,  and  several  members 
of  w^hich  were  excellent  musicians. — Spitta, 
i.  152. 

BACH,  HANS  [1],  born  at  Wechmar 
about  1580,  died  there,  Dec.  26,  1626.  Son 
of  Veit  Bach,  and  great-grandfather  of  Se- 
bastian Bach  [15].  Generally  known  as 
"der  Spielmann."  Besides  being  a  profes- 
sional '■Kunstpfeiifer  "  {i.e.,  j)layer  on  vari- 
ous orchestral  instruments),  he  was  a  car- 
pet weaver  by  trade.  He  was  well  known 
about  Gotha,  Arnstadt,  Erfurt,  Eisenach, 
and  Suhl,  and  had  his  portrait  taken  four 
times,  a  thing  which,  in  those  days,  hap- 
pened only  to  notabilities. — Spitta,  i.  8. 

BACH,  HEINRICH  [4],  bom  at  Wech- 
mar, Sept.  16,  1615,  died  at  Ai-nstadt,  July 
10,  1692.  Youngest  son  of  Hans  Bach  [1], 
and  head  of  the  Arnstadt  line  ;  was  taught 
the  violin  by  his  father,  but,  even  when  a 
boy,  his  taste  led  him  to  the  organ,  which 
he  studied  under  his  elder  brother,  Johann 
[2].  In  1641  he  became  organist  at  the 
Liebfrauen-Kirche,  Arnstadt,  which  post  he 
held  for  over  fifty  years.  He  inherited  his 
father's  cheerful  disposition,  and  his  char- 
acter was  such  that  he  was  beloved  and  re- 
spected by  the  whole  community.  He  was  one 
of  the  best  organists  of  his  time.     Only  one 


95 


BACH 


of  his  works  has  been  preserved,  an  organ- 
piece  on  the  chorale,  "  Christ  lag  in  Todes 
Bauden." — Johauu  Gottfried  Olearius,  Fu- 
neral Sermon  (Arustadt,  1692) ;  Spitta,  i.  28. 
BACH,  JAIvOB  [5],  born  at  Wolfsbehr- 
ingen,  1655,  died  at  Euhla,  1718.  Son  of 
Wendel  Bach,  and  generally  recognized  as 
the  head  of  the  Meiningen  line  of  Bachs. 
He  was  cantor  in  Steinbach,  and,  from 
1694  to  his  death,  in  Euhla.  He  was  the 
first  teacher  of  Johann  Theodore  Romhild. 
— Spitta,  i.  ,11. 

BACH,  JOHANN  [2],  born  at  "Weehmar, 
Nov.  26, 1604,  died  at  Erfurt,  May  13,  1673. 
Eldest  son  of  Hans  Bach  [1].  He  was  ap- 
prenticed to  Hoffmann,  "  Stadtpfeifer  "  in 
Suhl,  and  became  organist  there  and  in 
Schweinfurt.  After  a  restless  life  during 
the  Thirty  Years'  War,  he  settled  in  Erfurt 
as  director  of  the  Raths-Musikanten,  Sept. 
27,  1635,  and  became  organist  at  the  Pre- 
diger-Kirehe,  probably  in  1647.  He  was  a 
true  Bach  in  the  strict  morality  of  his  life, 
and  his  influence  upon  music  in  Erfurt, 
where  he  lived  during  the  greater  jiart  of 
his  life,  was  such  that  the  town-musicians 
were  known  as  "  the  Bachs  "  down  to  the 
second  half  of  the  18th  century.  He  was 
the  head  of  the  Erfurt  line  of  Bachs. 
—Spitta,  i.  15. 

BACH,  JOHANN  ^GIDIUS  [6J,  born 
at  Erfurt,  Feb.  9,  1045,  died  there  in  1717. 
Second  son  of  Johann  Bach  [2].  He  was 
viola  plaj'er  among  the  town-musicians  un- 
der his  father's  directorsliii) ;  became,  later, 
organist  at  the  St.  Michaelis-Kirche,  and 
succeeded  his  elder  brother  as  Raths-Musik- 
director  in  1082.— Spitta,  i.  23. 

BACH,  JOHANN  AjNIBROSIUS  [8],  born 
at  Erfurt,  Feb.  22,  1045,  died  at  Eisenach 
in  1095.  Second  son  of  Christoph  Bach  [3] 
and  twin  brother  of  Johann  Christoph  [9], 
also  father  of  Johann  Sebastian  Bach  [15]. 
He  studied  the  viola  under  his  father,  and 
entered  the  association  of  the  "  Raths-Musi- 
kanten "  at  Erfurt  in  1667,  taking  the  place 
of  his  cousin  Johann  Christian  [5].  In 
October,  1071,  he  settled  in  Eisenach,  leav- 


ing his  Erfurt  position  to  his  cousin  Johann 
Jj^gidius  [0].  The  mental  and  physical  like- 
ness between  him  and  his  twin  brother  was 
so  great  that  their  own  wives  could  not  tell 
them  apart.  He  married  Elisabeth  Lilm- 
merhirt,  April  8,  1008,  and  had  the  follow- 
ing children :  1.  Infant,  died  soon  after 
birth  ;  2.  Johann  Christoph  [13] ;  3.  Johann 
Balthasar  (born  March  4,  1073,  died  April, 
1091) ;  4.  Johann  Jonas  (born  Jan.  3,  1675) ; 
5.  Maria  Salome  (born  May  27,  1077) ;  6. 
Johanna  Juditha  (born  Jan.  20,  1080)  ;  7. 
Johann  Jakob  [14]  ;  8.  Johann  Sebastian 
[15]. — Funeral  sermon  by  Valentin  Schron 
on  Dorothea  Maria  Bach  (Eisenach,  1097)  ; 
now  in  the  Ducal  Librarj',  Gotha  ;  Spitta, 
i.  1.54,  171. 

BACH,  JOHANN  BERNHARD  [12], 
born  at  Erfurt,  Nov.  23,  1676,  died  at  Ei- 
senach, June  11,  1749.  Second  son  of  Jo- 
hann ^gidius  Bach  [6].  He  was  organist 
at  the  Kaufmanns-Kirche  at  Erfurt,  and 
afterwards  at  Magdeburg  ;  was  called  to 
Eisenach  in  1703  to  succeed  the  great  Jo- 
hann Christoph  [10]  as  organist  at  the  St. 
Georgen-Kirche  and  other  churches.  Be- 
came also  cembalist  in  the  orchestra  of 
I  Johann  Wilhelm,  Duke  of  Sachsen-Eise- 
nach.  He  was  one  of  the  best  organ  com- 
posers of  his  day.  His  style  was  much 
like  that  of  Pachelbel.  Of  his  works  there 
still  exist  four  suites  for  orchestra,  a 
few  short  pieces  for  harjisichord,  several 
arrangements  of  chorales  for  organ.  Eight 
of  the  latter  are  in  the  collection  made  by  Jo- 
hann Gottfried  Walther  of  Weimar.  Tliree 
volumes  of  this  are  in  the  Royal  Library  at 
Berlin,  a  fourth  in  the  Royal  Library  in 
KiJnigsberg,  and  a  fifth  in  the  possession 
of  Herr  Frankenberger  in  Sondershausen. 
Tlie  orchestral  suites  are  in  the  Royal  Li- 
brary in  Berlin.- — Spitta,  i.  24. 

BACH,  JOHANN   CHRISTIAN   [23], 

called  the  Milanese  or  the  English  Bach, 

born  at  Leipsic  in  1735,  died  in  London, 

1782.     Youngest  son  of  Johann  Sebastian, 

I  after   whose    death   he    went   to  Berlin  to 

!  study  under  his  brother  Philipp  Emanuel ; 


96 


BACH 


but,  being  of  a  verj'  convivial  nature,  he 
soon  tired  of  the  strict  discipline  and  went 
in  1754  to  Milan, 


where  he  became 
organist  of  the 
cathedral,  and 
rapidly  made  him- 
self popular  with 
the  masses  by 
ministering  to  the 
fashionable  taste, 
thus  degrading 
and  wasting  hia 
extraordinary  tal- 
ent. To  be  able  to  devote  himself  entirely  to 
dramatic  composition,  he  accepted  a  call  to 
London  in  1763,  and  won  abi'illiant,  though 
not  a  lasting  success.  Almost  immediately 
on  his  arrival,  he  was  appointed  music  master 
to  the  queen  and  royal  family.  His  oj)eras 
found  great  favour  through  their  melody 
and  lively  instrumentation,  to  which  he 
imparted  a  novel  charm  by  the  more  fre- 
quent use  of  wind  instruments  ;  he  was  also 
the  first  to  abolish  the  frequent  and  tedious 
da  capo  in  the  great  arias.  That  he  did  not 
lack  the  sense  of  the  truly  beautifid  and 
sublime,  in  spite  of  his  frivolous  turn  of 
mind,  is  proven  by  his  few  religious  com- 
positions and  symphonies,  characterized  by 
a  touch  of  grandeur.  By  his  elegant  style 
of  comjjosition  he  vastly  promoted  the  love 
for  pianoforte  playing,  and  in  his  concertos 
essentially  amplified  the  technique  of  the  in- 
strument. Works — Oj>eras:  Catoue,  given 
in  Milan,  1758,  London,  1764  ;  Orione  os- 
sia  Diana  vendicata,  Zanaide,  London,  1763  ; 
Berenice,  pasticcio  (with  Hasse,  Galuppi, 
and  Ferradini),  ib.,  1764  ;  Adriano  in  Siria, 
ib.,  1764  ;  Carattaco,  ib.,  1767  ;  Olimpiade, 
pasticcio,  Vienna,  1769  ;  Ezio,  do.,  1769  ;  Si- 
face,  London,  about  1771 ;  Temistocle,  Paris, 
1772  ;  Lucio  Silla,  ib.,  1774  ;  La  clemenza 
di  Scipione,  Breslau,  about  1733 ;  Amadis 
des  Gaules,  Paris,  1779  ;  Gioas,  re  de  Giuda, 
oratorio,  King's  Theatre,  1770.  Cantatas  : 
Die  Amerikanerin ;  Rinnldo  ed  Armida ; 
Amor    vincitore  ;    Aurora  ;    Endimiono 


(1772) ;  The  Litercession  (1767) ;  Salve  Ee- 
gina  ;  Magnificat,  for  two  voices  and  orches- 
tra ;  Laudati  pueri,  for  do.;  Gloi'ia  for  four 
voices  and  orchestra  ;  Te  Deum,  and  other 
church  music ;  15  symphonies  for  eight 
instruments ;  Sj-mphonie  concertante  ;  18 
concertos  for  pianoforte ;  6  quintets  for 
flute  and  violin  ;  30  trios  or  sonatas  for 
pianoforte,  violin,  and  bass  ;  6  trios  for  vio- 
lins ;  6  quartets  for  do.;  2  quintets  for 
2)ianoforte,  flute,  oboe,  viola,  and  violon- 
cello ;  Quartet  for  pianoforte,  two  violins, 
and  bass  ;  12  so- 
natas for  piano-  /O  y^  t)  O 
forte  ;  Sonata  for  ^  *  ^  '/OCL..d^  „ 
four  hands  ;  do.  ^ 
for  two  piano- 

fortes. — Allgem.  d.  Biogr.,  i.  747;  Allgem. 
Mus.  Zeitg.,  viii.  811  ;  Bitter,  Carl  Phil. 
Em.  Bach,  etc.,  ii.  140 ;  Burney,  iv.  480, 
486  ;  Fctis  ;  Grove  ;  Mendel ;  Schilling  ; 
Schubart,  Ideeu  zu  ehier  Aesthetik  der  Ton- 
kuust,  201. 

BACH,  JOHANN  CHRISTOPH  [10], 
born  at  Arnstadt,  Dec.  8,  1642,  died  at  Ei- 
senach, March  31,  1703.  The  eldest  son  of 
Heinrich  Bach  [4]  ;  studied  under  his  fa- 
ther. He  was  called  in  1665  to  Eisenach, 
where  he  was  appointed  organist  in  several 
churches,  notably  the  St.  Georgeukirche. 
From  1()96  to  his  death  he  had  free  lodg- 
ings in  the  mint,  and  was  probably  court 
organist  after  Pachelbel's  resignation  in 
1678.  On  the  23d  Sunday  after  Trinity, 
1667,  he  was  married  to  Maria  Elisabeth 
Wedemaun,  whose  father  was  town  clerk  at 
Eisenach.  Johann  Christoph  was  unques- 
tionably the  greatest  of  all  the  Bachs  ex- 
cejjting  Johann  Sebastian  [15]  ;  he  was  not 
only  one  of  the  best  organists  and  greatest 
contrapuntists  of  his  daj',  but  one  of  the 
most  important  composers  of  the  whole 
17th  centui-y.  None  of  his  works  were 
published,  and  most  of  them  have  been 
lost,  but  they  were  held  in  the  highest 
esteem  by  Sebastian  Bach  and  his  son 
Philipp  Emanuel,  and  the  few  choral  com- 
positions of  his  that  have  been  preserved 


BACH 


show  him  to  have  beeu  the  great  spiritual 
forerunner  of  Sebastian  Bach,  and  perhaps 
still  more  of  Handel.  Like  most  of  the 
family,  he  was  wholly  free  from  Italian  in- 
fluence, and  in  -vigour  of  inspiration  and 
perfection  of  form  and  style  his  works  far 
surpass  those  of  his  German  contemporaries. 
His  more  important  works  were  :  A  sort  of 
oratorio,  Der  SLreit  zwischen  Michael  und 
dem  Teufel  (text  from  Eevelations,  xii. 
7-12),  for  double  chorus,  orchestra,  and  or- 
gan. Sebastian  had  it  performed  at  Leip- 
sic,  as  Philipjj  Emanuel  did  in  Hamburg. 
The  score  is  the  "  Alt-Bachischen  Archive," 
now  in  the  Berlin  Library.  Eight  motets 
are  in  the  "  Musica  Sacra  "  of  the  Berlin 
Dom-Chor,  and  others  are  in  Naue's  "Neun 
motette  .  .  .  von  Johann  Christoph 
und  Johann  Michael  Bach  "  (Leipsic,  Hof- 
meister).  A  few  unimportant  organ  and 
harpsichord  works  stiU  remain. — Sjsitta,  i. 
37,  4L 

BACH,  JOHANN  CHRISTOPH  [9],  born 
at  Erfurt,  Feb.  22,  1645,  died  at  Arnstadt, 
Aug.  25,  1693.  Third  son  of  Christoph 
Bacli  [3],  and  twin  brother  of  J.  Ambrosius 
Bach  [8].  After  studying  under  his  father, 
he  was  made  court  musician  at  Arnstadt  in 
1G71,  where  he  also  assisted  his  uncle  Hein- 
rich  Bach  [-1]  in  the  church  music.  In  1681 
he  was  discharged,  but  was  reinstated  again 
in  1682,  and  made  Stadtpfeifer  besides. 
His  principal  instrument  was  the  violin.  — 
Spitta,  i.  154 

BACH,  JOHANN  CHRISTOPH  [13], 
born  at  Erfurt,  June  16,  1671,  died  at 
Ohrdruff.  Feb.  22,  1721.  Eldest  grown-up 
son  of  J.  Ambrosius  Bach  [8]  and  brother 
of  Sebastian  Bach  [15].  Studied  from  1686 
to  1689  under  Pachelbel,  and  in  the  latter 
j'ear  took  the  position  of  organist  at  the 
Thomaskii'che,  but  soon  afterwards  went  to 
Arnstadt  to  assist  the  old  Heinrich  Bach 
[4].  In  1690  became  organist  of  the  Stadt- 
kirche  in  Ohrdruff,  where  he  remained 
until  his  death.  He  was  Sebastian  Bach's 
first  clavier  teacher,  and  was  probably  an 
excellent  organist.     He  was  succeeded,  af- 


ter his  death,  by  his  second  son,  Johann 
Bernard  Bach.— Spitta,  i.  171,  181. 

BACH,  (JOHANN  CHRISTOPH) 
FRIEDRICH  [21],  called  the  Biickeburg 
Bach,  born  at  Leipsic,  June  29,  1732,  died 
at  Buckeburg,  Jan.  26,  1795.  Ninth  son 
and  pupil  of  Johann  Sebastian  ;  studied 
law  at  the  University  of  Leipsic,  but  took 
up  music  as  a  profession,  and  became  Ka- 
pellmeister to  the  count  of  Schaumburg- 
Lippe  at  Buckebui-g,  which  he  left  only 
once  to  visit  London  for  a  few  mouths. 
Although  lacking  the  great  talent  of  his 
brothers,  he  was  a  worthj'  disciple  of  his 
father,  whose  character  and  kindne.ss  of 
heart  he  had  also  inherited.  Works:  Ino, 
cantata  for  a  voice,  with  2  violins,  viola, 
and  bass  ;  The  Youth  of  Christ,  biblical 
tableau,  for  4  voices,  2  violins,  viola,  basso 
continuo,  2  flutes,  and  2  horns  ;  The  Res- 
urrection of  Lazarus,  oratorio,  for  4  voices 
and  orchestra  ;  Cantata  for  do.  (1787) ;  Can- 
tata for  Ascension,  for  4  voices,  2  violins, 
viola,  and  basso  continuo  ;  2  motets  for  4 
voices  ;  Symphony  for  2  violins,  viola,  bass, 
2  clarinets,  bassoon,  and  2  horns  ;  Pygma- 
lion, theatrical  cantata  ;  2  concertos  for 
pianoforte  and  orchestra ;  Trio  for  flute, 
violin,  and  bass  ;  Trio  for  2  vioUns  and 
bass  ;  Arias  with  orchestra  ;  6  quartets  for 
flute  and  strings;  6  do.  for  violins;  Sona- 
tas ;  Musikalisches  Vielerley,  a  collection  of 
miscellaneous  pieces  ;  Musikalische  Neben- 
stunden,  do.  ;  Munter's  geistliche  Lieder, 
etc.  —  Bittex-,  Carl  Phil.  Em.  Bach,  etc. 
(Berlin,  1868),  ii.  131  ;  Fetis  ;  Mendel. 

BACH,  JOHANN  ERNST  [18],  born 
at  Eisenach,  Sept.  1,  1722,  died  there,  Jan. 
28,  1777.  Only  son  of  Johann  Bernhard 
Bach  [12],  he  entered  the  Thomasschule  at 
Leij^sic  about  1735,  and  studied  law  at  the 
university  there.  In  1748  he  became  as- 
sistant organist  to  his  father,  and  succeeded 
him  after  his  death.  In  1756  he  was  made 
Kapellmeister  at  Weimar,  but  continued  to 
live  at  Eisenach.  As  a  church  composer  he 
was  decidedly  superior  to  most  of  his  con- 
temporaries,   albeit    he    lived   in  the  tran- 


BACH 


sition  period  between  Sebastian  Bach  and 
Haydu,  a  period  of  general  decadence  in 
vocal  composition.  A  list  of  bis  existing 
choral  works  is  given  in  Spitta,  i.  849. 
Some  of  his  compositions  for  clavier  are 
published  in  Pauer's  "Alte  Claviermusik  " 
(Leipsic,  B.  Senff).  The  IMSS.  of  a  Fan- 
tasia and  Fugue  in  A  minor,  and  a  Sonata 
in  A  major,  are  in  the  Berlin  Library. — 
Spitta,  i.  S-IS. 

BACH,  JOHANN  INIICHAEL  [11],  born 
at  Arnstadt,  Aug.  9,  1048,  died  at  Gehren, 
May,  1694.  Third  son  of  Heinricb  Bach 
[4]  and  younger  brother  of  the  great 
Johann  Christoph  Bach  [10].  He  was  a 
pupil  and,  later,  an  assistant  of  his  fathei-'s. 
In  16TS  he  was  made  organist  in  Gehren, 
near  Arnstadt.  The  house  he  lived  in  is 
still  standing.  Besides  his  official  duties 
as  organist,  and  his  great  activity  as  a 
composer,  he  also  devoted  much  time  to 
tlie  manufacture  of  harpsichords,  violins, 
etc.  His  youngest  daughter,  Maria  Bar- 
bara Bach  (born  at  Gehren,  Oct.  20,  1684, 
died  at  Cothen,  July  7,  1720),  was  the  first 
wife  of  Sebastian  Bach  [15].  With  the 
exception  of  his  brother,  Johann  Christoph, 
Johann  Michael  was  the  greatest  Bach  of 
his  generation  ;  while  the  former  shone 
more  especially  in  choral  composition,  the 
instrumental  works  of  the  latter  were  nota- 
bly fine.  Yet  a  finer  feeling  for  musical 
form  characterizes  the  elder  brother. 

BACH,  J0H.4.NN  SEBASTIAN 
born  at  Eisenach, 
probably  March 
21,  baptized 
March  23,  1685, 
died  at  Leipsic, 
July  28,  175  0 
One  of  the  great- 
est masters  of  all 
ages,  son  of  Am- 
b  r  o  s  i  u  s    B  a  c  h 

(1645-95),  from  whom  he  received  his 
first  instruction  on  the  violin,  and  after 
whose  death  he  was  taken  in  charge  by  his 
elder  brother  Christoph  at  Ohrdruff.     His 


fine  voice  and  musical  education  aided  liim 
in  obtaining,  in  1700,  a  position  in  the 
choir  of  St.  Michael's  at  Luneburgs  where 
the  church  library  offered  him  rich  treas- 
ures for  the  study  of  the  old  as  well  as  liv- 
intr  masters,  from  ^vhose  works  he  chiefly 
studied  composition  through  his  own  ef- 
forts. Georg  Br.hm,  the  cantor  at  St. 
John's,  seems  to  have  exerted  a  personal  in- 
fluence upon  him,  and  the  vicinity  of  Ham- 
burg induced  him  to  undertake  various  pe- 
destrian trips,  in  order  to  hear  the  famous 
organists  Reiukeu  and  Vincenz  Liibeck. 
At  Celle,  which  he  visited  frequently,  he 
became  acquainted  with  French  instrumen- 
tal music,  zealously  cultivated  at  that  court. 
About  Easter  of  1703  he  went  to  Weimgx 
as  violinist  to  Johann  Ernst,  brother  of  the 
rei"-ning  duke,  and  in  the  summer  of  the 
same  year  was  elected  organist  of  the  new 
church  at  Arnstadt.-  In  the  autumn  of 
1705  he  visited  Liibeck  to  make  the  ac- 
quaintance of  Buxtehude,  and  was  so  much 
attracted  by  this  famous  master  of  the  or- 
gan that  he  did  not  return  to  his  duties 
until  February,  1706.  In  the  year  following 
he  accepted  a  position  as  organist  at  Miihl- 
hausen,  and  married  his  cousin,  Maria  Bar- 
bara, daughter  of  Michael  Bach  ;  in  1708 
he  was  called  to  Weimar  as  court  organist, 
and,  being  chamber  musician  at  the  same 
time,  he  was  made  Concertmeister  in  1714. 
His  activity  at  Weimar  was  devoted  princi- 
pally to  tlie  organ  and  to  church  miisic, 
and  thence  his  fame  as  the  first  organist 
of  his  time  and  as  a  composer  began  to 
si^read.  During  the  autumn  vacation  he 
used  to  travel,  and  thus  visited  Halle  in 
1713  and  1716,  Cassel  (before  1714),  Leip- 
sic in  1714,  and  Dresden  in  1717.  At  the 
last  place  he  found  the  much-admired 
French  player  Marchand,  who  evaded 
Bach's  challenge  for  a  musical  contest  by 
taking  himself  off  on  the  very  morning  of 
the  day  agreed  upon.  In  November  of  the 
same  year  he  was  called  by  Prince  Leopold 
of  Aniinlt  to  CiVtheju  as  Kapellmeister  and 


director  of  his  chamber  music  ;  and  he  de- 


BACH 


voted  himself  there  principaUy  to  instru- 
lueutal  music.  The  life  at  Cothen  was  in- 
terrupted only  by  a  few  journeys  ;  to  Carls- 
bad, whither  he  had  to  accompany  the 
prince  several  times,  to  Leipsic  in  1717,  to 
Halle  in  1719,  where  he  tried  to  make  the 
acquaintance  of  Haudel,  who  had,  however, 
left  for  England  on  the  day  of  Bach's  arri- 
val. In  July,  1720,  his  wife  died  suddenly, 
while  he  was  on  his  return  from  Carlsbad, 
and  in  the  autumn  he  went  to  Hamburg  to 
compete  for  the  organist's  position  at  the 
Jacobikirche,  but  without  success.  In  De- 
cember,   1721,    he   was   married   again   to 


Birthplace  of  Johann   Sebastian   Bach. 

Anna  Magdalena  Wilken,  and  in  May,  1723, 
accepted  the  call  as  cantor  at  the  Thomas- 
kirche  in  Leipsic,  in  which  capacity  he  was 
at  the  same  time  oi'ganist  and  director  of 
music  at  St.  Thomas  and  St.  Nicholas.  On 
May  30,  1723,  he  executed  his  first  church 
service  at  Leipsic  Subsequently  he  re- 
ceived the  honorary  appointment  of  Kapell- 
meister to  the  Duke  of  Weissenfels,  and  in 
1736,  upon  his  special  wish,  that  of  court 
composer  to  the  King  of  Poland  and  Elec- 
tor of  Saxony.  In  his  position  at  Leipsic 
his  creative  power  was  naturally  turned 
again  towards  religious  music,  and  there 
he  composed  the  greater  portion  of  his  sa- 


cred cantatas,  of  which  he  wrote  altogether 
five  sets  for  every  Sunday  and  feast-day  in 
the  year ;  only  226  of  these  are  known. 
His  outward  life  was  now  simple  and  un- 
eventful ;  he  often  visited  Dresden,  espe- 
cially since  his  son  Friedemann  had  become 
organist  there,  and  because  he  liked  to  at- 
tend the  Italian  oj)era,  which  flourished  un- 
der Hasse.  In  1747  he  celebrated  his  lat- 
est triumph  ;  Frederick  the  Great,  whose 
service  Bach's  son  Philipp  Emanuel  had  en- 
tered in  1740,  had  often  expressed  the 
ardent  desire  to  see  and  hear  the  old  mas- 
ter iu  his  capital,  and  Bach  resolved,  there- 
fore, to  visit  Potsdam,  ac- 
companied by  his  son 
Friedemann.  The  king 
received  him  with  the  ut- 
most courtesj",  and  ex- 
pressed the  highest  ad- 
miration of  the  master's 
art  in  the  most  flattering 
terms  ;  a  fugue  theme 
which  he  gave  him.  Bach 
worked  up  at  home  in  the 
most  artistic  forms,  and 
dedicated  to  the  king  un- 
der the  title  Das  musilc- 
alische  Opfer.  For  some 
time  his  eyesight  had 
been  failing,  and  an  op- 
eration which  he  under- 
went soon  after  his  return 
to  Leipsic  resulted  in  total  blindness;  af- 
ter suifering  also  otherwise  for  six  mouths, 
he  suddenly  recovered  his  eyesight  once 
more,  but  ten  days  later  breathed  his  last. 
Twenty  children  had  been  born  to  him, 
seven  by  his  first,  and  thirteen  1)y  his  sec- 
ond wife  ;  of  these,  five  sons  and  four 
daughters  survived  him.  Bach  is  one  of 
those  great  masters  who  cannot  be  sur- 
passed, because  in  them  is  embodied,  so  to 
speak,  the  musical  knowledge  and  senti- 
ment of  an  entire  epoch  ;  his  especial  sig- 
nificance and  unexampled  greatness  lie  in 
the  fact  that  the  styles  of  two  different  art- 
epochs  have,  in  him  and  through  him,  at- 


lUU 


BACH 


f^-  f^,  f^  f^^  ff  ff 


^^^^y 


bV>r  '  'nn  ^^^^^^ 


i 


^^ 


^^^^^^ 


^■fj  ^j"j 


Facsimile  of  the  MS.   of  Johann   Sebastian   Bach;   from  the    rst   Prelude   in  the   Wohltempen.te   Clavier. 


BACH 


tained  their  liighest  development  ;    like  a  ',  lislied  yearly  since,  witli  a  few  intermissions, 


gigantic  landmark  be  stands  between  them, 
towering  above  either  in  mighty  grandeur. 
(With  equal  right  he  belongs  to  the  preced- 
'  iug  period  of  polyphonic  music,  of  contra- 
puntal, imitative  style,  and  to  that  of  har- 
monic music,  of  pronounced  tonality.  He 
lived  in  a  period  of  transition,  when  the  old 
style  had  not  as  yet  outlived  itself,  while 
the  new  was  in  the  first  stages  of  its  devel- 
opment, and  bore  the  stamp  of  immaturit}-. 
Bach's  genius  combined  the  peculiarities  of 
both  styles  in  a  way  which  may  be  consid- 
ered as  worthy  of  attainment  bj'  a  period 
still  lying  before  us  ;  the  growing  obsolete 
of  his  music  is  therefore  out  of  the  ques- 
tion, as  at  best  only  some  accessory  parts, 
like  cadences,  embellishments,  and  the  like, 
in  which  Bach  is  entirely  a  child  of  his 
times,  remind  us  of  the  past.  But  his 
melody  is  so  sound  and  inexhaustible,  his 
rhythm  so  jiolymorphous  and  full  of  pulsa- 
tion, his  harmony  so  select,  and  withal  so 
clear,  that  his  works  are  the  object  not  only 
of  admiration  but  of  the  most  zealous  study 
and  emulation  on  the  part  of  musicians,  and 
will  probably  continue  to  be  so  for  ages 
to  come.  Besides  Handel,  Bach  is  the  last 
great  master  of  the  reigning  church  music, 
and  the  first  great  prophet  of  that  domin- 
ion of  German  instrumental  music  which 
characterizes  the  second  half  of  the  18th 
century.  Works  :  A  nearly  complete  cata- 
logue of  Bach's  works  is  given  in  Mitzler's 
"  Musikalische  Bibliothek  "  (1754).  Only  a 
few  of  the  immense  number  were  printed 
during  his  lifetime.  Others  were  published 
after  his  death,  but  it  was  not  until  the  per- 
formance by  Mendelssohn  of  the  Matthew 
Passion  in  Berlin  in  1829,  a  century  after 
its  first  f)roduction,  that  the  musical  world 
became  conscious  of  the  true  value  of  the 
master's  compositions.  Editions  then  be- 
gan to  multiply,  and  in  1850,  the  centenary 
of  his  death,  was  founded  at  Leipsic  the 
Bach-Gesellschaft,  for  the  publication  of  his 
entire  works.  The  first  volume  was  issued 
in  1851,  and  a  new  volume  has  been  puW 

'  in 


to  the  present  time.  The  following  sum- 
mary of  the  contents  of  the  several  volumes 
shows  the  published  works  of  the  composer : 

Year  I.  (1851).  10  Kirchencantaten  (vol. 
i)  :  1.  Wie  schiJn  leuchtet  ;  2.  Ach  Gott, 
vom  Himmel  ;  3.  Ach  Gott,  wie  manches  ; 
4.  Christ  lag  in  Todesbanden  ;  5.  Wo  soil 
ich  flieheu  hiu  ;  6.  Bleib'  bei  uns  ;  7.  Christ 
unser  Herr  ;  8.  Liebster  Gott,  wann  werd' 
ich  sterben  ?  ;  9.  Es  ist  das  Heil ;  10.  Meine 
Seel'  erhebt. 

Tear  H.  (1852).  10  Kirchencantaten 
(vol  ii.)  :  11.  Lobet  Gott ;  12.  Weinen  Kla- 
gen  ;  13.  Meine  Seufzer  ;  14.  Wiir  Gott  nicht 
mit  uns  ;  15.  Denn  du  wirst  meine  Seele  ; 
16.  Herr  Gott  dich  loben  wir  ;  17.  Wer 
Dank  opfert ;  18.  Gleieh  wie  der  Regen  ; 
19.  Es  erhul)  sich  ein  Streit  ;  20.  O  Ewig- 
keit,  du  Donnerwort. 

Year  IH.  (1853).  Clavierwerke  (vol.  i.)  : 
15  Tnveitlions  and  15  Sijmphonies.  Klavier- 
iibung :  Part  1,  6  partitas  ;  Part  2,  A  con- 
certo and  a  partita  ;  Part  3,  Choral-preludes 
and  4  duets  ;  Part  4,  Air,  with  thirty  varia- 
tions ;  Toccata  in  F-sharp  minor  ;  Toccata 
in  C  minor  ;  Fugue  in  A  minor. 

Year  IV.  (1854).     Passion  nach  Matthaus. 

Year  V.  (1855).  10  Kirchencantaten  (vol. 
iii.)  :  21.  Ich  hatte  viel  Bekiiminerniss  ;  22. 
Jesus  nahm  zu  sich  ;  23.  Du  wahrer  Gott  ; 
24.  Ein  ungefilrbt  Gemiithe  ;  25.  Es  i.st 
uichts  Gesundes  ;  26.  Ach  wie  iliichtig  ;  27. 
Wer  weiss,  wie  nahe  mir  ;  28.  Gottlob  !  nun 
treht ;  29.  Wir  dauken  dir,  Gott ;  30.  Preue 
dich,  erluste  Schaar.  WeiknachtsOvaXoviaia, 
in  four  parts. 

Year  VI.  (1856).     Mass  in  B  minor. 

Year  VII.  (1857).  10  Kirchencantaten 
(vol.  iv.) :  31.  Der  Himmel  lacht ;  32.  Lieb- 
ster Jesu  ;  33.  Alleiu  zu  dir,  Herr  ;  34.  O 
ewiges  Feuer ;  35.  Geist  und  Seele  ;  36. 
Schwingt  freudig  euch  ;  37.  We.r  da  glau- 
bet ;  38.  Aus  tiefer  Noth  ;  39.  Brich  dem 
Hungrigen  ;  40.  Dazu  ist  erschienen. 

Year  Vni.  (1858).  4  Masses,  in  F,  A, 
G  minor,  and  G. 

Year  IX.  (1859).     Kammermusik  (vol.  i.) : 


102 


BACH 


3  sonatas  for  clavier  and  flute  ;  Suite  for 
clavier  and  violin  ;  (i  sonatas  for  do. ;  '?  so- 
natas for  clavier  and  viola  di  ganiba  ;  sonata 
for  fiute,  violin,  and  figured  bass  ;  sonata 
for  two  violins  and  do. 

Year  X.  (18(30).  10  Kirchencantaten 
(vol.  v.) :  -11.  Jesu,  nun  sei  gepreiset ;  42. 
Am  Abend  aber  desselbigen ;  43.  Gotl  fahret 
auf ;  4-4.  Sie  werdeu  eucli  ;  45.  Es  ist  dir 
gesagt  ;  46.  Scbauet  doch  und  sebet  ;  47. 
Wer  sicb  selbst  erbOhet  ;  48.  Icb  elender 
Menscli  ;  49.  Icb  geh'  und  eucbe  ;  50.  Nun 
ist  das  Heil. 

Year  XI.  (1861).  Magnificat  in  D.  4 
Sanctus,  in  C,  D,  D  minor,  and  G.  Kam- 
mermusik  (vocal) :  Der  Htreit  zwiscben  Pbce- 
bus  und  Pan  ;  Weichet  nur,  betrubte  Scbat- 
ten  ;  Amove  traditore;  Contentment;  Der 
ZiifriedcngealelUe  J^olus. 

Year  XII.  (1862).  Passion  music  from 
St.  Jobn.  10  Kircbeucautaten  (vol.  vi.) :  51. 
Jaucbzet  Gott  ;  52.  Falscbe  Welt  ;  53. 
Scblage  docb  ;  54.  Widerstebe  docb  ;  55.  Icb 
armer  Meuscb  ;  56.  Icb  will  deu  Kreuzstab ; 
57.  Selig  ist  der  Maun  ;  58.  Acb  Gott,  wie 
manches  (2d  version)  ;  59.  Wer  micb  liebet  ; 
60.  O  Ewigkeit  (2d  version). 

Year  XIII.  (1863).  Trauungx  Cantaten  : 
Dem  Gerecbten  muss  das  Licbt ;  Der  Herr 
denket  an  uns  ;  Gott  ist  unsere  Zuversicbt ; 
3  chorales.  Clavier werke  (vol.  ii.)  :  6  Freiu-h 
suites  ;  6  English  suites.  Trauer-Ode  ou 
tbe  Electress  of  Saxonj'. 

Year  XIV.  (1864).  Clavierwerke  (vol. 
iii.)  :  Das  icohlleinperi.rle  Clavier. 

Year  XV.  (1865).  Organ  works  :  6  Sona- 
tas ;  18  Preludes  and  Fugues  ;  3  Toccatas  ; 
Passacaglia. 

Year  XVI.  (1866).  10  Kircbencantaten 
(vol.  vii.) :  61.  Nun  komm,  der  Heideu  ;  62. 
Id.  (2d  version)  ;  63.  Cbristen,  iitzet  diesen 
Tag  ;  64.  Sebet,  welcb'  eine  Liebe  ;  65.  Sie 
werden  aus  »Saba ;  66.  Erfreut  eucb,  ibr 
Herzeu  ;  67.  Halt'  im  Gediicbtniss  ;  68. 
Also  hat  Gott  die  Welt  ;  69.  Lobe  den 
Herrn  ;  70.  Wachet,  betet,  seid  bereit. 

Year  XVII.  (1867).  Kammermusik  (vol. 
.  ii.)  :  Concertos  for  clavier  and  orchestra,  in 


D  minor,  E,  D,  A,  F  minor,  F,  and  G  mi- 
nor ;  Concerto  for  clavier,  flute,  and  violin, 
with  orchestra. 

Year  XVIII.  (1868).  10  Kircbencantaten 
(vol.  viii.)  :  71.  Gott  ist  mein  Kunig  ;  72. 
AUes  nur  nacb  Gottes  Willen  ;  73.  Herr, 
wie  du  willst  ;  74.  Wer  mich  liebet  (2d  ver- 
sion) ;  75.  Die  Eleuden  sollen  essen  ;  76. 
Die  Himmel  erzilhlen  ;  77.  Du  sollst  Gott ; 
78.  Jesu,  der  du  meine  Seele  ;  79.  Gott  der 
Herr  ist  Sonn' ;  80.  Ei.n  feste  Burg. 

Yeai-  XrX.  (1869).  Kammermusik  (voL 
iii.)  :  6  concertos  for  various  instruments, 
with  orchestra. 

Year  XX.  (1870).  10  Kircbencantaten 
(vol.  ix.)  :  81.  Jesus  scbliift ;  82.  Icb  babe 
genug  ;  83.  Erfreute  Zeit ;  84.  Icb  bin  ver- 
gniigt  ;  85.  Icb  bin  ein  guter  Hirt  ;  86. 
Wabrlich,  ich  sage  eucb  ;  87.  Bisher  babt 
ibr  nichts  ;  88.  Siebe,  icb  will  viel  Fischer  ; 
89.  Was  soil  ich  aus  dir  machen  ;  90.  Es 
reifet  eucb.    3  Dramas  for  various  festivities. 

Year  XXI.  (1871).  Kammermusik  (vols, 
iv.  and  v.)  :  2  concertos  for  violin  and  or- 
chestra ;  1  do.  for  two  violins  and  orches- 
tra ;  1  symphony  movement  for  violin  ;  3 
concertos  for  two  claviers  and  orchestra. 
Ostec-Oratorium. 

Year  XXII.  (1872).  10  Kirchencantaten 
(vol.  X.)  :  91.  Gelobet  seist  du  ;  92.  Ich  bab' 
in  Gottes  ;  93.  Wer  nur  den  lieben  Gott ; 
94.  Was  frag'  ich  ;  95.  Christus  dor  ist 
mein  Leben  ;  96.  Herr  Christ,  der  ein'  ge  ; 
97.  In  alien  meinen  Tbateu  ;  98.  Was  Gott 
tbut,  das  ;  99.  Do.  (2d  version)  ;  100.  Do. 
(3d  version). 

Year  XXIH.  (1873).  10  Kirchencantaten 
(vol.  xi.)  :  101.  Nimm  von  uns,  Herr  ;  102. 
Herr,  deine  Augen  sehen  ;  103.  Ibr  werdet 
weinen  und  beulen  ;  104.  Du  Hirte  Israel  ; 
105.  Herr,  gehe  nicht  ins  Gericht ;  106. 
Gottes  Zeit  ist  die  allerbeste  Zeit ;  107.  Was 
willst  du  dicb  betriiben  ;  108.  Es  ist  eucb 
gut  ;  109.  Icb  glaube,  lieber  Herr ;  110. 
Unser  ^lund  sei  voll  Lachens. 

Year  XXIV.  (1874).  10  Kirchencantaten 
(vol.  xii.)  :  111.  Was  mein  Gott  will  ;  112. 
Der  Herr  ist  mein  getreuer  Hirt  ;  113.  Herr 


BACH 


Jesu  Chiibt,  du  Luclistes  Gut ;  114.  Ach, 
lieben  Christen  ;  115.  Mache  dicli  meiu 
Geist  bereit ;  116.  Du  FrieJeusfiirst,  Herr 
Jesu  Christ ;  117.  Sei  Lob  und  Ehr  ;  118. 
O  Jesu  Christ  mein's  Lebeu's  Licht ;  119. 
Preise  Jerusalem,  den  Herru  ;  120.  Gott, 
man  lobet  dich. 

Year  XXV.  (1875).  Die  Kunst  der  Fuge  ; 
Orgelbilchlein ;  Sechs  Chorale  (known  as 
the  "  Schiibler'scheu  ")  ;  Achtzehn  Chorale 
(known  as  "  diegrosseu  mitdem  Scbwanen- 
liede  "). 

Year  XXVI.  (1876).  10  Kircheucantaten 
(vol.  xiii.)  :  121.  Christum  wir  solleu  loben 
schon  ;  122.  Das  neugebor'ne  Kindelein  ; 
123.  Liebster  Immanuel,  Herzogder  From- 
men  ;  124.    Meinen  Jesum  lass'  ich  nicht  ; 

125.  Mit  Fried'  und  Freud'  ich  fahr'  dahin  ; 

126.  Erhalt'  uns,  Herr,  luit  deiiiem  Wort ; 

127.  Herr  Jesu  Christ,  wahr'r  Mensch  und 
Gott  ;  128.  Auf  Christi  Himmelfahrt  allein  ; 
129.  Gelobet  sei  der  Herr,  meiu  Gott ;  130. 
Herr  Gott,  dich  loben  alle  wir. 

Year  XXVH.  (1877).  6  Sonaten  fiii-  vio- 
line  ;  6  sonaten  filr  violoncell. 

YearXXVin.  (1878).  10  Kirchencantaten 
(vol.  xiv.) :  131.  Aus  der  Tiefe  rufeich,  Herr, 
zu  dir ;  132.  Bereitet  die  Wege,  bereitet 
die  Bahn  ;  133.  Ich  freue  mich  in  dir  ;  134. 
Eiu  Herz,  das  seinen  Jesum  lebeud  weiss ; 
135.  Ach  Herr,  mich  armen  Siinder ;  136. 
Erforsche  mich,  Gott,  und  erfahre  mein 
Herz  ;  137.  Lobe  den  Herren,  den  machti- 
geu  Kijnig  der  Ehren  ;  138.  Warum  be- 
triibst  du  dich,  mein  Herz  ;  139.  Wohl 
dem,  der  sich  auf  seiuen  Gott ;  140.  Wachet 
auf,  ruft  uns  die  Stimme. 

Year  XXIX.  (1879).  Kammermusik  fiir 
Gesang  :  Cantaten  ;  Was  mir  behagt,  is  uur 
die  muutre  Jagd  ;  Non  sa  che  sia  dolore  ;  O 
holder  Tag,  erwiinschte  Zeit  (Hochzeits- 
Cantate)  ;  Hochsterwiinsehtes  Freudenfest ; 
Schweigt  stille,  plaudert  nicht ;  Mer  hahn 
en  neue  Oberkeet ;  Mit  Gnaden  bekrone 
der  Himmel  die  Zeiten  (Gratulations-Can- 
tate)  ;  O,  angenehme  Melodei  ;  Instrumen- 
talsatz  ffir  Violine,  Hoboe  und  Continuo. 

Year  XXX.  (1880).     10  Kirchencantaten 


(vol.  XV.)  :  141.  Das  ist  je  gewisslich  wahr  ; 
142.  Uns  ist  ein  Kind  geboren  ;  143.  Lobe 
den  Herrn,  meine  Seele  ;  144.  Nimm  was 
dein  ist,  und  gehe  ;  145.  So  do  mit  deinem 
Munde  bekennest  Jesum  ;  146.  Wir  miissen 
durch  viel  Triibsal  in  das  Keich  Gottes  ein- 
gehen  ;  147.  Herz  und  Mund  und  That  und 
Leben  ;  148.  Briuget  dem  Herru  Ehre  seines 
Namens  ;  149.  Man  singt  mit  Freuden  vom 
Sieg  ;  150.    Nach  dir,  Herr,  verlanget  mich. 

Year  XXXI.  (1881).  Werke  fiir  Orches- 
ter  :  Ouverturen  in  C,  B  minor,  D,  D  ;  Sin- 
fonia  in  F. 

Year  XXXH.  (1882).  10  Kirchencantaten 
(vol.  xvi.) :  151.  Siisser  Trost,  mein  Jesus 
kommt ;  152.  Tritt  auf  die  Glaubensbahn  ; 
153.  Schau',  lieber  Gott,  wie  meine  Feind' ; 
1.54.  Mein  liebster  Jesus  ist  verloren  ;  155. 
Mein  Gott,  wie  lang',  ach  lauge ;  156.  Ich 
steh'  mit  eiuem  Fuss  im  Grabe  ;  157.  Ich 
lasse  dich  nicht,  du  segnest  mich  denn  ; 
158.  Der  Friede  sei  mit  dir  ;  159.  Sehet, 
wir  geli'n  hinauf  gen  Jerusalem  ;  160.  Ich 
weiss,  dass  mein  Erliiser  lebt. 

Year  XXXIH.  (1883).  10  Kirchencanta- 
ten (vol.  xvii.):  161.  Komm,  du  siisse  To- 
desstuude  ;  162.  Ach,  ich  sehe,  jetzt  da  ich 
zur  Hochzeit  gehe  ;  163.  Xur  Jedem  das 
Seine  ;  164.  Ihr,  die  ihr  euch  von  Christo 
nennet  ;  165.  O  heil'ges  Geist-  und  Wass- 
erbad  ;  166.  Wo  gehest  du  bin  ;  167.  Ihr 
Menscheu,  riihmet  Gottes  Liebe  ;  168.  Thue 
Rechuung !  Donnerwort  ;  169.  Gott  soil 
allein  mein  Herze  haben  ;  170.  Vergniigte 
liuh',  beliebte  Seelenlust. 

Year  XXXJV.  (1884).  Kammermusik  fiir 
Gesang :  Serenata,  Durehlaucht'ster  Leo- 
pold ;  Cantata,  Schwiugt  freudig  euch  em- 
por  (Die  Freude  reget  sich)  ;  Dramma  per 
musica,  Lasst  uns  sorgen,  lasst  uns  wachen  ; 
Do.  Tonet,  ihr  Pauken  !  Erschallet,  Trora- 
peten ;  Cantata  gratulatoria,  Preise  dein 
Gliicke,  gesegnetes  Sachsen  ;  Dramma  per 
musica,  Angenehmes  Wiederau  ;  Do.  Auf, 
schmetterndeTiine  dermuntern  Trompeten. 
— AUgem.  d.  Biogr.,  i.  729;  Allgem.  mus. 
Zeitg.,  i.-xlviii.  ;  Bitter,  J.  S.  Bach  (Berlin, 
1865) ;  Forkel,  Ueber  Bach's  Leben,  Kunst 


1U4 


I-ips  Bach  ii),  b.  (t).  d.  1620. 


Wendel  Bach,  farmer!?), 
b.  1619  d.  1682. 

Jakob  Bach,  musician 
cantor  in  Steinach  and 
K-uhla.  b.  x6ss,  d.  1718 


nn  Ludwie  Bach, 
:antor  and  music 
rinMeiningen.b. 

»74r. 


Nicolaus  Ephraim 
Bach,  court  musician 
at  Gandersheim. 


atHalle,  b.  1703.  d.  1771.        ^    ' 


Samuel  Anton  Bach, 
court  organist  at  Mein- 
ingen,  b.  1713.  d.  1781. 


Gottlieb  Friedrich 
Bach,  court  organist 
at  Meiningen,  b,  1714, 
d.  1785.      I 


Johann  Philipp  Each 
court  organist  at  Mein- 
mgen,  b.  1751,  d.  1846. 


Johanii  Christian  Bach 
music  teacher  at  Halle, 
the  "Clavier-Bach,"  b. 
1743.  d,  1814. 


GENEALOGICAL   TABLE    OF   THE    BACH    FAMILY. 


^ 


Johann  Cbilitiaii 
ncUt  id  Erfuit.  b 


Johann  bacb,  muli- 
ciaD.  oidnt^  in  £^ 
furt,  b.  itei.  d.  167^ 


[«I    I 

JohaiiD    A<eidiui 

Bnch,  miufc  dirEctor 

and  oisanitl  in  El- 

futl.  b.  l&i;.  d-  mr- 


J,l. 


Bacb.  rioU  da 
gamba  player,  b. 
.6SJ.  d.  Jtaa. 


Gcont  Chiliioph  Bimh, 


;ali«na  Jakob  BacIi,          lohann  Chriitoph  Bach.  Johann  Derahard  Jchann   Chrittoph 

'  '       ~     "'    ~                 cAiitor     nnd    orjranlsl    fn  Bdch,  coniuo&er,  01-  Bach.muikdlreclor, 

Unier-Zininicrn  ani)  C.eh-  c^nlii  at  Eifuit.  b.  b  ttSi  d.(tl. 

tn.  b.  iftjj.  d,  im.  1&J6,  d.  1J40. 


Hans  Bach,  of  Wechmar,  b.  tjM  (t). 

e  cilhara,  b.  is9>-Ai,  d.  1G19, 


Veil  Bach,  anat«ur< 


II,  b  15S0IT),  d.  i»36. 


Dph  Bach 


Johtuin  Ambroiiui 
Bach,  violinlil  and 
compwer,  b.  iCits  d. 


Bacli.     loirn  ■  mu^- 
cian  m  Schveinfun, 


I   Chriiloph 
1671,  d 


Johann  GOniher  Bach, 
t^wi  xHiecr  tn  Eifun.  b. 
<N3.  d.  (Fj. 


Johnnii  lirntl  B<ich. 
conipotet  and  oi^an- 
itt,  b.  tj3%  iL  1J77, 


r 


Johann  l^r«nz  Bach.  Johsnn   Efldt   Bach, 

mmposar,   orxnniit    at        cantor  In  Sch-««1nfuit, 
Lahan,  b.  i6k,  d.  ■7;>         b.  tjos,  d  uss- 


Tobias  h'fitdrkh 
Bach,  canlnr  in 
Unmdt.  b  ib}s. 


Johnnii  Bern  hard 
Bach,  oreaniil  la 
ObrtruB,  b.  1700. 


Johann    Heinrieh 


lohann  Jacob  Bach. 
'KuitHpfeircr."  conn 
miitician  nl  Slock- 
holm,  b.  i6B>.  il.  1733. 


ni' 


^. 


Bach,  violinist,  courl 
musician  at  A  nutadi, 
b.  it«s.  d.  1653. 


Johann    Cliiiitoph 


Johann  Michael  Bac-h 
coRipoKr,  oncanlsi.  and 
intlrument  bulldct  at 
Cehien.  b.  ifi^S.  d.  iCw 


t.itn  lUrh  Hj.  b.  (I),  d.  iteo. 


ITendel  Racti,  farmeilt). 


JahohBach,  muiician, 
cantor  in  Slelnach  and 
Ruhia  b  i<^  d.  If  i& 


Johann  Ludwic  Dacli,  Sicol. 

couft  cnntor  and  music       Bach.ci 
dlref(oriaMelnine«n,b        at  Cani 


Johnnn  Umsl  Itach, 
en.  h.i6»i,  d.  1739. 


Johann    Chrldoph 
Kculi  (I),  t.  lOPo,  d. 


^JohannNikl 
vemiy  oreani' 


Johinn  Christoph  Johan 


.  i6jt.  MQhIhauien.  b  1(^4 


('pi    I 
Wilhclm  Friedemann  Bach. 


Carl  Philipp  Hmanuel  Bnch, 
the  "  Hamburg"  and  "  Berlin- 
Bach  "  composei  and  pianist, 


Johnnn  Andreas 
OhrdnitrSj  171J 


Johnnn  Chrisloph  1-riedrlch 
Bach,  the  "  BDc1cebuii['Bach," 
composer  nntl  Kapcllnieitler, 
b  i7It.<l.i;95'| 

(»U 
Wilhelm  tnedtich  Emu 
Bach,   comjMiei,    pianist 
and  Tiollnul,    b.  liso.  d. 


Samuel  Anion  Ddch, 
COOrt  organist  nl  Miln^ 
iifSD,  b  i;i3.  iL  i;<ii. 


It  Halle,  b  1701.1].  ini- 


Bach,  court  ornanltt 
d.  .tSv  T"' 
Johann  rhilipp  Bacb, 
instiai  b  i;ii,  d.  liti 


Johann  ChfUMan  Dadi. 
music  IBAChor  at  Halle. 
the  -  Clavier  Bach,"  b 
i-«.  d   18(4. 


^ 


• 


c 


BACH 


uud  Kunstwerke  (Leipsic,  1802) ;  Hiller, 
Lebensbesclireibuugen,  etc.  (ib.,  1784)  ;Hil- 

genfeld,  Bach's  Leben,  Wirken  und  Werke 
(ib.,  1850);  Schauer,  do.  (ib.,  1850) ;  Poole, 
Seb.  Bach  (Loudon,  1882)  ;  Mizler's  mu- 
sikalische  BibHotliek  (1754),  iv.  1  ;  Spitta, 
J.  S.  Bach  (Leipsic,  1873^80);  do.  (Eng- 
lish ed.,  London,  1884-85). 

BACH,  (WILHELM)  FRIEDEjVLi.NN 
[19],  called  the 
Halle  Bach,  born 
at  Weimar,  Nov. 
22,  1710,  died  in 
Berlin,  July  1, 
1784.  Eldest  son 
and  pupil  of  Jo- 
hann  Sebastian, 
whose  favourite 
he  was,  and,  un- 
der whose  guid- 
ance he  had  acquired  a  remarkable  profi- 
ciency on  the  pianoforte  at  the  age  of  twelve. 
When  fifteen  he  studied  the  violin  under 
Graun,  then  at  Merseburg.  In  1733  he  be- 
came organist  of  the  Sophienkirche  in  Dres- 
den, andin  1747  of  theMarienkirche  atHalle. 
There  he  gi-adually  gave  himself  up  to  a  dis- 
sipated mode  of  life,  which  led  to  his  resig- 
nation in  1764  ;  he  then  lived,  without  any 
regular  occupation,  at  Leipsic,  Brunswick, 
Gottingen,  and  from  1774  in  Berlin,  where  he 
deteriorated  more  and  more,  and  finally  died 
in  utter  distress.  He  was  the  most  gifted 
and  learned  of  Bach's  children,  and,  accord- 
ing to  his  brother  Emanuel's  testimony,  the 
only  one  who  might  have  been  able  to  re- 
place their  great  father.  Works — Vocal : 
Cantata  on  the  Pence  of  Hubertsburg  (1763) ; 
Pentecost  Cantata  (1746)  ;  Cantata  for  Ad- 
vent (1749)  ;  do.  for  birthday  of  Frederick 


the  Great ;  Christmas  Cantata  ;  17  other 
cantatas  and  arias  for  special  holydays  ; 
Kyrie  and  Gloria  ;  Pentecost  music  ;  Amen 
and  Hallelujah  ;  3  motets.  Instrumental : 
Organ  concerto  for  2  pianofortes  ;  Sonata 
for  do. ;  10  fugues  ;  12  polonaises  for  do. ; 

10  concertos  for  do.,  with  quartet,  and  other 
accompaniment ;  12  sonatas  for  pianoforte  ; 

11  fantasias  for  do.  ;  1  gique  ;  1  6tude  ;  1 
suite  ;  Trio  for  2  flutes  and  bass ;  2  trios 
for  oboe,  bassoon,  and  bass  ;  Trio  for  vio- 
lins and  cembalo  obligato  ;  4  duets  for 
flutes ;  Allabreve  for  do.  ;  Ricercata  for 
quartet  and  bass  ;  Symphony  for  2  flutes 
and  quartet  ;  Sextet  for  2  horns,  clarinet, 
violin,  viola,  and  bass  ;  Divertimento  for 
pianoforte  ;  about  30  polonaises  and  several 

minuets  for  do. ;  Duet  for  2  pianofortes  ; 
Allemande  for  do. ;  Presto  for  do. — AUgem. 
d.  Biogr..  i.  743  ;  Bitter,  C.  P.  E.  Bach,  etc., 
ii.  150  ;  Fctis  ;  Mendel  ;  Schilling. 

BACH,  WILHELM  (FRIEDRICH 
ERNST)  [22],  born  at  Biickeburg,  May  27, 
1759,  died  in  Berlin,  Dec.  25,  1845.  '  The 
last  male  descendant  of  Johann  Sebastian 
Bach,  son  and  pupil  of  the  Biickeburg  Bach, 
also  pupil  of  his  uncle  Johann  Christian  in 
London,  where  he  lived,  until  the  latter's 
death,  as  an  excellent  jsifinoforte  and  organ 
player  and  esteemed  teacher  ;  he  then  went 
to  Paris,  where  he  gave  concerts,  and  settled 
at  Minden,  whence  he  was  called  to  Berlin 
in  1792,  to  become  pianist  to  Queen  Fried- 
erike  Louise,  and  afterwai'ds  to  Queen 
Louise.  He  was  the  teacher  of  Frederick 
William  III.  and  his  brothers.  Of  his  com- 
positions, in  the  style  of  the  old  school,  and 
consisting  of  pianoforte  and  instrumental 
works,  cantatas,  and  songs,  only  a  few  have 
been  printed.— Bitter,  C.  P.  E.  Bach,  etc., 
ii.  139  ;  Ledebur,  Tonkilnstl.  Lex.  Berlins 
(1861). 

BACH,  AUGUST  WTLHELM,  born  in 
Berlin,  Oct.  4,  1796,  died  there,  April  15, 


105 


BACH 


1869.  Organist,  son  and  pupil  of  Gottfried 
Bach,  who  was  organist  at  Trinity  Church, 
afterwards  pupil  of  Zelter  in  counterpoint 
and  fugue,  of  L.  Berger  on  the  pianoforte, 
and  of  C.  W.  Henuing  on  the  violin.  He 
was  organist  at  St.  Gertrude's  (1814),  and 
St.  Mary's  (1816),  became  professor  at  the 
Institute  for  church  music  in  1822,  and 
succeeded  Zelter  as  its  director  in  1832. 
He  composed  church  and  organ  music, 
besides  some  jsianoforte  pieces  and  songs. — 
Mendel. 

BACH,  OTTO,  born  in  Vienna.  Feb.  9, 
1833,  still  living  there,  1888.  Dramatic 
composer,  pupil  of  Sechter  in  Vienna,  of 
Marx  in  Berlin,  and  of  Hauj)tmann  in  Lei})- 
sic ;  was  at  first  Kapellmeister  of  the  theatre 
at  Augsburg  (1866),  and  in  1868  was  called 
to  Salzburg  as  director  of  the  Mozarteum 
and  Kapellmeister  of  the  cathedral.  Since 
1880,  Kapellmeister  of  the  Votivkirche  in 
Vienna.  Works — Operas :  Sardanapal,  three 
acts,  about  1860  ;  Die  Liebesprobe,  two  acts, 
represented  at  Augsburg,  April  1,  1867  ; 
Die  Argonauten,  1870 ;  Lenore,  three  acts, 
Gotha,  Dec.  25,  1874  ;  Medea ;  4  sympho- 
nies ;  Electra,  overture  ;  Der  Blumen  Rache, 
ballad  for  chorus  and  orchestra  ;  Requiem  ; 
Masses,  choruses,  chamber  music.  —  Rie- 
mann. 

BACHE,  FRANCIS  EDWARD,  born  in 
Birmingham,  England,  Sept.  14,  1833,  died 
there,  Aug.  24,  1858.  Pianist,  pupil  on  the 
violin  at  Birmingham  of  Alfred  Mellon  ; 
went  to  London  in  1849  to  studj'  under 
Sterndale  Bennett,  and  to  Leipsic  in  1853 
to  study  with  Hauptmann  and  Plaidv-,  tak- 
ing also  organ  lessons  at  Dresden  in  1854 
from  Schneider.  Illness  took  him  in  1855 
to  Algiers,  whence  he  went  to  Leipsic, 
Rome,  and  Vienna,  and  returned  to  England 
in  1857.  His  ability  was  great— far  beyond 
his  physical  strength.  Works  :  Which  is 
Which?,  opera,  1851 ;  Riibezahl,  opera,  1853  ; 
4  mazurkas,  op.  13  ;  Souvenirs  dTtalie,  op. 
19  ;  Andante  and  rondo  polonaise  for  piano- 
forte and  orchestra  ;  trio  for  pianoforte  and 
strings,  op.  25 ;  Romance  for  pianoforte  and  i 


violin  ;  6  songs,  op.  16  ;  Barcarola  Vene- 
ziana  ;  Concerto  in  E  for  pianoforte  and  or- 
chestra. Walter  Bache  (born  in  Birming- 
ham, June  19,  1842),  his  brother,  is  a  pianist 
in  Loudon,  and  the  acknowledged  exponent 
in  England  of  Liszt's  music. — Grove ;  Brown. 

bAche  von  gesalznen  zahren, 

tenor  aria  in  F  minor,  with  accompaniment 
of  strings  complete,  fagotto  and  continuo,  in 
Johann  Sebastian  Bach's  cantata,  Ich  hatte 
viel  Bekiimmerniss. 

BACHMANN,  GOTTLOB,  born  at  Born- 
itz.  Saxony,  March  28,  1763,  died  at  Zeitz, 
April  10,  1840.  Organist,  pupil  of  Freeh  at 
Zeitz,  for  pianoforte  and  harmony  ;  went  in 
1785  to  Leipsic  and  studied  counterpoint, 
and  in  1790  to  Dresden,  where  Naumann 
became  his  master  in  composition.  Organ- 
ist at  Zeitz  in  1791.  Works  :  Phaedou  und 
Naide,  opera,  given  in  Dresden,  about  1790  ; 
Don    Silvio   de    Rosalva,    do.,    Brunswick, 

1797  ;    Orpheus    und    Eurydice,    do.,    ib., 

1798  ;  Cantate  auf  den  Tod  des  Orpheus, 
ib.,  1799  ;  Lieder  und  Arien  (Halle,  1795)  ; 
Das  Elysium,  ballad  (Vienna,  Riedt)  ;  Hero 
und  Leander,  do.  (Offenbach,  Andre,  1798) ; 
12  songs,  op.  6  (ib.,  1799)  ;  Des  Miid- 
chens  Klage  (Aug.sburg,  1799)  ;  Leonhard 
und  Blondiue,  ballad  (Leipsic,  Breitkopf  & 
Hiirtel)  ;  Leonore,  do.  (Vienna,  Riedt)  ; 
Arion,  do.  (Bonn,  Simrock)  ;  Die  Biirg- 
schaft,  do.  (ib.);  Die  Klage  der  Ceres  (ib.); 
Die  Schlacht  (ib.) ;  Ballads  of  Goethe  (Leip- 
sic, Kiihnel)  ;  12  songs,  op.  22  (Vienna, 
Eder) ;  6  do.,  op.  25  (ib.,  Riedt) ;  6  German 
odes,  op.  33  (ib.)  ;  6  songs,  op.  45  (Berlin, 
Dunker)  ;  6  do.,  op.  51  (Leipsic,  Hoffmeis- 
ter) ;  6  do.,  op.  59  (Worms,  Kreitner) ; 
Symphony  for  orchestra,  op.  2  (Oflfenbach, 
Andre)  ;  2  do.,  op.  9  and  10  (Brunswick, 
Spehr)  ;  2  quai'tets  for  2  violins,  viola,  and 
violoncello,  op.  3  (Offenbach,  Andre)  ;  2  do., 
op.  5  (ib.)  ;  3  do.,  op.  7  (Vienna,  Eder)  ;  2 
do.,  op.  8  (Brunswick,  Spehr)  ;  1  do.,  op.  32 
(Leipsic,  Breitkopf  &  Hiirtel)  ;  do.,  op.  57 
(Worms,  Kreitner) ;  do.,  dedicated  to  Haydn 
(Augsburg,  Gombart)  ;  Quintet  for  jnano- 
forte,  flute,  violin,  viola,  and  violoncello,  op. 


106 


BACH MANN 


42  (Vienna,  Eder)  ;  2  trios  for  pianoforte, 
violin,  and  violoncello  (Brunswick,  Spehr)  ; 
Sonata  for  pianoforte  and  violin  obligato, 
op.  4  (Offenbach,  Andre)  ;  do.,  op.  23  (Vi- 
enna, Eder)  ;  do.,  op.  24  (ib.)  ;  Sonata  for 
pianoforte  for  four  hands,  op.  41  (Bonn, 
Simrock)  ;  do.  for  pianoforte,  op.  21  (Leip- 
sic,  Breitkopf  &  Hiirtel)  ;  do.,  op.  3G  (Vi- 
enna, Riedt)  ;  12  dances  and  marches,  op. 
58  (Worms,  Kreitner)  ;  6  pieces  for  the  or- 
gan, op.  34  (Leipsic,  Breitkopf  &  Hiirtel). — 
Fetis  ;  Gerber,  N.  Lex.  ;  Schilling. 

BACHMANN,  Pater  SIXTHS,  born  at 
Kettershaiisen,  Bavaria,  July  18,  1754,  died 
at  Marchthal  about  1818.  Contra^Juntist 
and  organist,  attracted  attention  even  at  the 
age  of  nine,  when  he  was  able  to  play  from 
memory  more  than  two  hundred  jjieces,  and 
held  his  own,  at  Biberach,  1706.  in  a  musi- 
cal contest  on  the  organ  with  young  IMozart, 
vrho  was  then  ten  years  of  age.  He  ac- 
quired his  musical  education  in  the  monas- 
teries of  Eleliingeu  and  Marchthal,  in  the 
latter  of  which  he  was  a  Premoustrant 
monk,  studied  the  works  of  Abbot  Vogler, 
and  was  temporarily  instructed  by  Kapell- 
meister Koa,  who  stopped  at  Marelithal  on 
his  way  to  Italy.  In  1786  he  was  associated 
with  Hoffmeister  in  Vienna  in  his  musical 
publishing  society,  but  withdrew  from  it 
two  years  later.  His  masses,  written  in  true 
church  style,  were  much  esteemed  and  wide- 
ly circulated  by  numerous  copies.  Besides 
them  he  left  behind  him  a  real  treasure  of 
cantatas,  symphonies,  sonatas,  violin  quar- 
tets, and  fugues  for  the  organ.  Only  the 
following  were  printed  :  2  sonatas  for  piano- 
forte (Vienna,  1786) ;  Sonata  for  do.  (Speyer, 
1791)  ;  Diverse  Pezzetti  (ib.,  1791)  ;  Organ 
Fugue  alia  Zoppa  (ib.,  1792)  ;  Sonata  for 
pianoforte,  op.  1  (Munich,  1800). — Fetis  ; 
Gerber,  N.  Lex.  ;  Schilling. 

BACHOFEN,  JOHANN  KASPAR,  born 
in  Zurich  in  1692,  died  there  in  1755. 
Singing-master  in  the  Latin  school  and 
cantor  of  one  of  the  Zurich  churches  in 
1718 ;  director  of  the  Chorherrn-gesell- 
schaft  as  successor  to  Albertiu  ;   author  of 


an  instruction  book  on  music  and  singing, 
the  "Music.  Notenbiichleiu."  Compositions  : 
Musicalisches  Halleluja,  containing  600  mel- 
odies for  two  and  three  voices  with  organ 
and  figured  bass  (8  eds.  down  to  1767) ;  Ver- 
mehrte  Zusatz  von  Morgeu,  Abend  .  .  . 
Gesungeu  (1738)  ;  Sacred  airs  iu  concert- 
style  for  two  and  three  voices  given  in 
twelve  monthly  numbers  (4th  ed.,  1755) ; 
Brocke's  Irdisches  Verguiigeu  iu  Gott,  set 
to  music  (1,000  pages,  1740)  ;  jMusicalische 
Ergetzungen  (1755) ;  Psalmen  Davids  (8vo, 
2d  ed.,  1759)  ;  Fiir  die  Sundeu  der  Welt, 
from  Brooke's  Passion  (1759).  His  hymns 
were  very  popular  iu  Switzerland. — Grove. 

BACHRICH,  SIGISMUND,  born  at 
Zsambokreth,  Hungary,  in  1841,  stiU  living, 
1888.  Dramatic  composer  and  violinist, 
pujsil  iit  the  Conservatorium,  Vienna,  of 
BOhm  on  the  violin  (1851-57) ;  for  a  short 
time  Kapellmeister  of  a  small  theatre  in 
Vienna,  went  in  1861  to  Paris,  and  for  sev- 
eral years  earned  a  scanty  living  as  con- 
ductor of  an  orchestra,  journalist,  and  even 
as  an  apothecary  ;  then  returned  to  Vienna, 
and  for  twelve  years  was  a  member  of  the 
Helmesberger  (Quartet.  He  is  now  in- 
structor at  the  Conservatorium,  and  mem- 
ber of  the  Philharmonic  and  the  Opera  or- 
chestras, also  of  the  Eose  Quartet.  Works  : 
Muzzedin,  comic  opera,  given  in  Vieima, 
1883  ;  Heini  von  Steier,  do.,  ib.,  1884  ;  Sa- 
kuntala,  ballet ;  Two  operettas,  Vienna, 
1866  ;  Chamber  music,  pieces  for  the  vio- 
lin, and  songs. — Riemann. 

BACHSCHMIDT,  ANTON,  born  at 
Molk,  Nether-Austria,  Dec.  7,  1705,  died 
at  Eichstiidt,  Bavaria,  iu  1780  (1776  ?). 
Virtuoso  on  the  trombone  and  violin  ; 
member  iu  1760  of  the  prince-bishop's 
court  orchestra  at  "Wiirzburg,  and  later  in 
the  prince's  orchestra  at  Eichstiidt,  where 
in  1769  he  became  Concertmeister.  It  was 
only  then  that  he  began  to  study  the  great 
composers,  especially  Graun,  to  whose  style 
he  conformed.  The  Prince  of  Eichstiidt 
sent  him  to  Italy  to  complete  his  musical 
education,    and,  owing   to   the    success   of 


BACKOFEN 


some  operas  composed  there,  appointed 
bim  Kapellmeister  after  his  return.  He 
won  reputation  through  his  church  music, 
consisting  of  masses,  litanies,  vespers,  etc.; 
among  his  other  works  were  symphonies, 
concertos,  and  quartets,  of  which  only  the 
following  were  printed  :  Concerto  for  oboe, 
two  violins,  viola,  violoncello,  and  two 
horns  ;  Sis  violin  quartets.  In  his  sixty- 
eighth  j-ear  he  became  totally  blind. — Fe- 
tis  ;  Schilling. 

BACKOFEN,  (JOHANN  G.)  HEIN- 
EICH,  born  at  Durlach,  Germany,  in  1768, 
died  at  Darmstadt  in  1839.  Virtuoso  on 
the  harji,  tbe  English  horn,  the  clarinet, 
and  the  flute  ;  pupil  at  Nuremberg  of  Georg 
Wilhelm  Gruber  in  composition,  and  of 
Birckmaun  on  the  instruments.  In  1789 
he  began  a  successful  concert  tour  as  clar- 
inetist through  France,  Spain,  and  Italy,  re- 
turning to  Nuremberg  in  1794  ;  four  years 
later  he  travelled  through  Germany,  per- 
forming on  the  harp  and  the  English  horn, 
meeting  with  an  especially  honoui'able  recep- 
tion at  Gotha,  where  he  made  a  prolonged 
stay  iu  1802,  and  was  appointed  chamber 
musician  in  180(5.  Thence  he  visited  Leip- 
sic,  Munich,  and  Frankfort,  and  in  1815 
settled  at  Darmstadt,  where  he  established 
a  factory  of  wind  instruments.  He  wrote  a 
very  good  method  for  the  harp  (Leijisic, 
1803,  and  another  for  the  clarinet  and  the 
English  horn  (ib.,  1803).  Works  :  16  vari- 
ations for  the  harp  (Leipsic,  1779) ;  Sonata 
for  do.,  with  violin  (il>.,  1798)  ;  Concertaute 
for  do.,  English  horn,  and  violoncello  ;  do. 
for  harp,  viola,  and  violoncello  ;  Abendge- 
sang  der  Balsora  (Leipsic,  1800) ;  13  varia- 
tions for  harp,  op.  41  (ib.,  1801) ;  First, 
second,  and  third  books  of  pieces  for  the 
harp  (ib.,  1799-1802)  ;  Concertante  for  two 
clarinets ;  Quintet  for  English  horn,  two 
violins,  viola,  and  violoncello.  In  manu- 
script :  Short  Te  Deuin  ;  Music  for  the  inau- 
guration of  the  Nuremberg  Theatre  :  Scene 
from  Metastasio  ;  Dirge  for  four  voices  at 
the  grave  of  a  Freemason  ;  3  concertos  for 
Euglish  horn  ;  Grand  concerto  for  the  harp  ; 


Quintet  with  clarinet ;  Several  pieces  for 
two  clarinets,  two  horns,  and  two  bassoons. 
— Fetis  ;  Gerber,  N.  Lex.;  Schilling. 

BADIA,  CARLO  AGOSTINO,  born  iu 
Venice  iu  the  17th  century.  Dramatic 
composer,  lived  about  the  beginning  of  the 
18th  century  as  court  musician  at  Vienna. 
Works  :  La  Niufa  Apollo,  opera,  given  in 
Eome  and  Milan,  1692,  in  Bologna,  1694, 
at  Laxenburg  Palace,  1699,  in  Vienna,  1700  ; 
Narciso,  do.,  Vienna,  1699  ;  Amore  vuol  So- 
migliauza,  do.,  ib.,  1702  ;  La  corte  celeste, 
oratorio,  1702  ;  II  profeta  Elia,  do.,  Venice, 
1720  ;  Gesti  nel  Prestorio,  do.,  1730  ;  Tri- 
buti  armonici,  a  collection  of  twelve  canta- 
tas for  a  single  voice  and  harpsichord. — 
Fetis  ;  Schilling. 

BADIA,  LUIGI,  born  at  Tirauo,  Naples, 
in  1822,  still  living,  1888.  Dramatic  com- 
poser, known  by  the  operas  :  Gismonda  di 
Mendrisio,  given  at  Bologna,  1846  ;  another 
opera,  given  at  Florence ;  Flavio  Racliis, 
Trieste,  1853.— Fetis. 

BAGATELLEN  (Fr.,  bagatelle,  a  trifle), 
a  title,  probably  first  used  by  Beethoven,  to 
designate  a  short  piece  of  light  pianoforte 
music.  Beethoven  wrote  four  sets  of  Baga- 
tellen :  1.  7  Bagatellen,  op.  33,  composed 
1782  ;  original  MS.  owned  by  Johann  Kaff- 
ka,  Vienna.  Published,  Vienna.  2.  6  Baga- 
tellen, op.  126,  composed  1821.  Published 
by  Schotts,  Mainz.  3.  12  Bagatellen,  op. 
119,  composed  1820-22.  Published  by 
Sauer  Liedersdorf  in  the  "  Wiener  Zeitung  " 
(1824).  4.  6  Bagatellen,  iu  MS.,  owned  by  Ar- 
taria  &  Co.  (Vienna). — Thayer,  Verzeichuiss. 

BAGGE,  SELMAE,  born  at  Coburg,  June 
30, 1823,  still  living,  1888.  Instrumental  and 
vocal  composer,  pupil  of  Kaspar  Kunnner  in 
thorough  bass  and  of  Schilbach  on  the  violon- 
cello, then  (1837)  at  the  Conservatorium  in 
Prague  of  Dionys  Weber  and  of  Hiittner ; 
later  of  Sechter  in  Vienna,  where  he  be- 
came professor  of  composition  at  the  Con- 
servatorium in  1851 ;  resigned  iu  1855  to 
become  a  musical  critic  and  editor ;  from 
1863  at  Leipsic ;  director  of  the  music 
school  at  Basel  since  1868.     His  composi- 


BAI 


tions  consist  of  a  symphony,  a  sonata  for 
pianoforte  and  violoncello,  op.  3,  string 
quartets,  pianoforte  pieces,  and  songs.  He 
has  published  also  an  arrangement  of  Bach's 
Fasaioii  uach  Matthiius  for  pianoforte  solo 
( Leipsic,  Breitkopf  &  Hartel ).— Grove  ; 
Mendel. 

BAI  (Baj),  T0MM.\80,  born  at  Creval- 
cuore,  near  Bologna,  Italy,  in  the  second 
half  of  the  17th  century,  died  in  Rome,  Dec. 
22,  1714.  He  was  for  many  years  tenor 
singer  in  the  chapel  of  the  Vatican,  where 
he  became  maestro  di  cappella  in  1713. 
Bai  was  one  of  the  many  comi^osers  who, 
flourishing  near  the  close  of  the  "  great " 
Eouian  period  of  Italian  music,  strove  to 
hold  fast  by  the  Palestrina  traditions  and 
the  a  cappella  style  ;  yet  he,  like  the  rest  of 
his  generation,  found  it  impossible  wholly 
to  free  himself  from  the  influence  of  con- 
temporary music,  and  his  works,  when 
con^pared  with  Palestrina's,  show  what  a 
totally  different  musical  atmosphere  he 
breathed  from  that  which  pervaded  the 
first  few  decades  of  the  "  great "  period. 
His  great  posthumous  reputation  is  based 
upon  a  single  work,  his  Miserere,  written 
after  the  still  more  famous  one  by  Gregorio 
AUegri.  It  is  published  in  Choron'a  Col- 
lection gunerale  des  ouvrages  classiques  de 
musique  (Paris,  Le  Due).  A  5-voice  mass, 
twelve  motets  for  i,  5,  and  8  voices,  and 
an  8-voice  De  profuudis  exist  in  MS.  in 
the  Santini  collection  in  Home. — Fetis ; 
Grove  ;  Mendel. 

BAILDON,  JOSEPH,  lived  during  mid- 
dle of  18th  century,  died  May  7,  1771.  Or- 
ganist. Gentleman  of  the  Chapel  Royal  ; 
lay-vicar  of  Westminster  Abbey  ;  organist 
of  St.  Luke's,  Old  Street,  and  All  Saints', 
Fulham,  in  1763.  The  Catch  Club  awarded 
him  prizes  in  1763  and  in  17G6  for  a  catch 
and  the  glee,  "  When  gay  Bacchus  fills  my 
breast."  In  Warren's  collection  are  ten 
catches  and  four  glees  by  Baildon.  He 
published  two  volumes  of  his  works  entitled 
The  Laurel,  and  Four  Favourite  Songs  sung 
by  Mr.  Beard  at  Ranelagh  Gardens.     His 


glees,  "Adieu  to  the  village  delights,"  and 
"Pr'ythee,  friend,  fill  t'other  pipe,"  and  his 
humorous  catch,  "Mister  Speaker,  tho'  'tis 
late,"  were  very  popular  in  their  day. — 
Grove. 

BAILLEUX,  ANTOINE,  flourished  in 
Paris  about  1758-84,  died  there  in  1791. 
Instrumental  and  vocal  composer,  and  teach- 
er ;  author  of  an  exceUeut  vocal  (1760),  and 
a  violin  method  (1779).  Works  :  Le  bou- 
quet de  Tamitie,  cantatille  ;  6  symphonies 
for  four  parts  (Paris,  17.58)  ;  do.  for  grand 
orchestra  (ib.,  17G7)  ;  Les  petits  concerts 
de  Paris  ;  Solfcges  (Paris,  1784).— F6tis. 

BAILLOT,  PIERRE  MARIE  FRANCOIS 
DE  SALES,  born  at 
Passy,  France,  Oct. 
1,  1771,  died  in 
Paris,  Sept.  15, 1842. 
Instrumental  c  o  m- 
poser,  critic,  and  lust 
great  representative 
of  the  classical  school 
of  violin-playing  in 
Paris.  Professor  of 
the     violin    at     the 

Conservatoire.  His  first  master  on  the  vio- 
lin was  an  Italian  named  Polidori,  but  his 
real  musical  education  began  in  1780  under 
Sainte-Marie,  in  Paris,  and  was  continued 
in  1783  under  Pollani,  in  Rome,  where  he 
was  sent  by  M.  de  Boucheporn  ;  his  play- 
ing was  influenced  also  by  Viotti,  whom 
he  heard  in  his  tenth  year.  Baillot  first  ap- 
peared iu  public  in  1791,  Viotti  procuring 
him  a  place  in  the  Theatre  Feydeau,  which 
he  soon  resigned  for  an  apjjointment  in  the 
Ministere  des  Finances,  using  his  musical 
talent  merely  as  a  recreation.  In  1795, 
after  studying  the  compositions  of  CorelH, 
Tartini,  Gemiuiani,  Loeatelli,  Bach  (?),  and 
Handel,  he  determined  to  become  a  profes- 
sional musician,  and  made  a  successful  de- 
but in  a  concerto  by  Viotti,  which  secured 
his  reputation  and  gained  him  a  professor- 
ship of  the  violin  in  the  newly  opened  Con- 
servatoire, which  he  held  till  his  death.  He 
studied    also    harmony    under    Catel,    and 


BAILLOU 


countei-point  with  Reiclia  and  Cherubini. 
Member  of  Napoleon's  private  band  in  1802. 
He  made  a  professional  tour  with  the  vio- 
loncello-player Lamare  in  Russia  in  1805- 
08,  but  the  war  brought  him  home  ;  he  gave 
concerts  in  the  South  of  France,  and  started 
chamber-music  concerts  in  Paris  in  1814, 
which  gained  him  great  reputation  as  a 
quartet-player.  In  1815-16  he  made  a  sec- 
ond professional  tour  in  Holland,  Belgium, 
and  England,  becoming  a  member  of  the 
English  Philharmonic  Society,  at  one  of 
whose  concerts  he  played  on  Feb.  26,  1816. 
Director  of  the  band  at  the  Paris  Opera  in 
1821-31 ;  director  of  the  Concerts  spirituels 
given  at  the  Opera,  1822,  1823,  1824  ;  of  the 
Eoyal  Band  from  1825  ;  his  last  tour  was 
made  through  Switzerland  and  part  of  Italy 
in  1833.  Baillot's  quartet-playing  is  highly 
praised  by  Mendelssohn  and  Hiller.  He 
had  celebrated  pupils,  Mazas,  Habeneck  aine, 
the  two  Danelas,  and  many  others.  He  as- 
sisted Rode  and  Kreutzer  iu  compiling  a 
work  for  the  violoncello,  and  the  Muthode 
de  Violon,  adopted  by  the  Conservatoire 
(1803)  ;  with  the  exception  of  the  Ai't  du 
Violou,  which  is  considered  by  Fetis  the 
best  elementary  work  of  the  kind  (1834),  his 
works  are  almost  forgotten.  His  music  is 
difficult.  Among  his i^ublished  compositions 
are  :  15  trios  for  two  violins  and  bass ;  6  duets 
for  two  violins  ;  12  etudes  for  violins  ;  9 
concertos  ;  Symphonie  concertante  for  two 
violins,  with  orchestral  accompaniment  ;  30 
airs  varies  ;  3  string  quartets  ;  Sonata  for 
pianoforte  and  violin  ;  24  preludes  iu  all  keys 
and  several  smaller  compositions  for  the 
violin.    A  posthumous  work,  '•Observations 

aux  concours  de  violon  du  Conservatoire  de 
Musique,"  was  published  iu  Paris  (1872).^ 


Fetis  ;  do..  Supplement,  i.  37  ;  Grove  ;  La- 
rousse,  ii.  62  ;  Mendel,  i.  416  ;  Ergiiuz,  22  ; 
Wasielewski,  Die  Violine  und  ihre  Meister, 
274. 

BAH^LOU,  LOUIS  DE,  born  in  France 
about  the  middle  of  the  18th  century,  died 
in  Milan  in  1809.  Dramatic  composer  and 
violinist,  pupil  of  Capron  on  the  violin  ; 
went  to  Italy  and  became  conductor  of  the 
orchestra  at  the  Teatro  della  Scala,  Milan, 
for  which  he  wrote  the  following  ballets  : 
Andromacca  e  Pirro,  L'  amante  generosa, 
given  in  1777  ;  AjDollo  jjlacato,  Calipso  ab- 
bandonata,  1778  ;  Mirza,  La  guinguetta  iu- 
glese.  La  Zingara  riconosciuta,  1783  ;  Giulio 
Sabino,  1784  ;  Lodovico  il  Moro,  Amore 
maestro  di  scuola,  II  popolo  d'  Argo  festeg- 
giante,  Vologese,  1786  ;  Guatimozin  o  la 
Conquista  del  Messico,  II  primo  viagiattore, 
II  fanfaro  militare,  I  due  avari,  1787  ;  II 
matrimonio  per  coucorso,  1788  ;  Guglielmo 
Tell,  Lucio  Giunio  Bruto,  1797  ;  La  disfatta 
di  Abderamo  (with  Capuzzi),  1809. — Fetis. 

BAINI,  GIUSEPPE,  born  in  Rome,  Oct. 
21,  1775,  died  there.  May  21,  1844.  Church 
comjjoser,  and  the  most  eminent  musical 
writer  and  critic  in  Italy  in  this  century  ; 
pujjil  of  his  uncle,  Lorenzo  Baini,  and  at  the 
Seminario  Romano  of  Jaunacoui  in  1802, 
when  he  obtained  a  j)osition  as  bass  singer 
iu  the  Pontifical  Chapel,  of  which  he  was  ap- 
pointed maestro  di  cap2:)ella  in  1817.  His 
celebrated  Miserere  was  composed  for  the 
Sistine  Chapel,  and  is  considered  equal  to 
those  by  Allegri  and  Bai,  and  still  used.  As 
a  writer  on  music  he  is  the  author  of  "  Saggio 
sopra  r  identita  de'ritmi  musicaliepoetichi" 
(Florence,  1820)  ;  his  most  important  work 
was  the  monograph,  "Memorie  storico-criti- 
che  della  vita  e  delle  opere  di  Giovanni 
Pierluigi  da  Palestrina,"  etc.  (Rome,  1828). 
Member  of  Berlin  Academy,  1837,  of  the 
Deutsche  National  Musik  Verein,  1839.  His 
princii^al  compositions  are  :  Salmi  ed  Inni 
a  quattro  voci,  etc.  (1804)  ;  Inni  ad  otto 
voci,  etc.  (1807)  ;  Tutto  il  servigio  per  la 
solenne  messa  del  martedi  santo,  etc.,  II  Te 
Deum  o  Inno  Arubrogiano  ad  otto  voci,  etc 


no 


BAJETTI 


(1815) ;  Tutto  il  servigio  di  chiesa  anuuale, 

etc.  (1816)  ;  II  tei'zo  Miserere  a  tlieci  voci 

per   servigio   della  cappella  poutiticia,  etc. 

(1821).     Besieies  these  he  composed  a  great 

jiumber  of  masses,  motets,  hymns,  psahns, 

and   church        _ 

concertos     1.,',,,^^,^,        0*^ 

I -'I 


for    from 
four       to 


r^5^ 


fa-uu-^ 


twelve  voices. — Allgem.  mus.  Zeitg.,  xxxvi. 
473  ;  Fetis  ;  Mendel  ;  Schilling  ;  do.,  Sup- 
plement, 13. 

BAJETTI,  GIOVANNI,  born  at  Brescia, 
Italy,  in  1815,  died  in  Milan,  April  28,  1876. 
Dramatic  composer,  and  musical  director 
at  the  Teatro  della  Scala,  Milan.  Works  : 
Gonzalvo,  opera,  given  at  Milan,  La  Scala, 
1841;  II  genio  d' Italia,  Piaceuza,  1843; 
L'  assedio  di  Brescia,  Milan,  1844  ;  Faust 
(ballet  with  Costa  and  Panizza).  ib.,  1848  ; 
Uberto  da  Brescia,  ib.,  18G6. — Fetis  ;  do.. 
Supplement,  i.  38. 

BAIvER,  BENJAiVnN  FEANKLIN, 
born  of  American 
parentage  in  Wen- 
ham,  Massachusetts, 
July  10,  1811,  still 
living,  1888.  In 
1822  he  removed  to 
Salem,  and  at  the  age 
of  fourteen  began 
to  sing  in  the  choir 
of  the  Howard  Street 
Presbyterian  Chui'ch 
in  that  city.  Dur- 
ing 1828-33  he  resided  in  Boston,  whence 
he  removed  to  Bangor,  Maine,  to  engage 
in  commercial  pursuits,  without,  however, 
severing  his  connection  with  music.  In 
1836  he  returned  to  Boston,  studied 
under  John  Paddon,  and  sang  in  the 
choir  of  the  Chauucey  Place  Church, 
and  in  the  following  year  took  charge  of 
the  music  in  the  Rev.  Dr.  Chanuing's 
Church.  In  1841  he  was  chosen  succes- 
sor to  Lowell  Mason,  to  teach  music  in 
the  public  schools  of  Boston,  and  was 
elected  vice-president  of  the    Handel  and 


Haydn  Societj',  a  position  which  he  held 
for  six  years,  appearing  in  solos  at  many  of 
the  society's  concerts.  In  1847  the  pre- 
liminary work  of  establishing  a  music- 
school  in  Boston  was  begun  by  ^Ir.  Baker, 
and  in  1851  the  Boston  Music  School  was 
incorporated,  with  a  full  corps  of  teachers 
in  the  various  dejjartments,  Mr.  Baker  be- 
ing vocal  instructor  and  principal.  The 
establishment  of  this  school  was  an  im- 
portant event  in  the  development  of  musi- 
cal culture  in  America.  In  1868  the  school 
was  closed,  and  Mr.  Baker  retired  from  ac- 
tive professional  work.  Works  —  Vocal  : 
Death  of  Osceola,  quartet,  1846  ;  Stars  of 
the  Summer  Night,  quartet,  1865  ;  Ave  Ma- 
ria, 1871  ;  The  Storm  King,  cantata,  1856  ; 
The  Burning  Ship,  do.,  1858  ;  Camillus,  the 
Roman  Conqueror,  do.,  1865  ;  and  other 
songs  and  quartets.  He  is  also  the  author 
of  Baker's  Thorough  Bass  and  Harmony, 
and  has  compiled  several  books  of  glees 
and  anthems. 

BAKER,  GEORGE,  born  in  Exeter, 
England,  in  1773,  died  at  Eugeley,  Feb. 
19,  1847.  Organist,  pupil  (about  1780)  of 
Hugh  Bond  and  of  William  Jackson,  organ- 
ist of  Exeter  Cathedral ;  he  also  studied  the 
violin  under  Ward,  and  the  jjianoforte  and 
violin  under  Dussek  and  William  Cramer 
in  London  in  1790.  He  was  organist  of 
Stafford  in  1795,  of  Derby  in  1810,  and  of 
Rugeley  in  1824  ;  received  the  degree  of 
Mus.  Doc,  Oxford,  about  1801.  Baker 
wrote  anthems,  glees,  organ  voluntaries, 
pianoforte  sonatas,  songs,  manj'  of  them 
composed  for  Incledon,  and  music  to  The 
Caffres,  given  unsuccessfully  at  Coveut 
Garden  Theatre,  June  2,  1802.— Grove  ; 
Fetis. 

BALAIOREV,  JHLY  ALEXEJEVICH, 
born  at  Nijni  Novgorod,  Russia,  in  1836, 
still  living,  1888.  Pianist,  appeared  in  con- 
certs when  still  a  boy,  although  he  did  not 
take  up  music  as  a  profession  until  after 
his  acquaintance  with  Ulibischeff.  In  1856 
he  appeared  as  pianist  in  St.  Petersburg 
with  great  success,  and  in  1862  founded, 


Ml 


BALART 


with  Lainakin,  the  free  School  of  Music, 
of  which  he  assumed  direction  iu  1867. 
He  conducted  the 
concerts  of  the  Rus- 
sian Music  Society  in 
1SG7-70,  but  retired 
into  private  life  in 
1872.  He  is  a  fol- 
lower of  the  Berlioz- 
Liszt  school.  His 
principal  works  are : 
Overtures  on  Rus- 
sian, Sj)anish,  and 
Czech  themes ;  Music  to  King  Lear  ;  Bla- 
rney, Oriental  fantasy  for  pianoforte  ;  Other 
music  for  do. — Riemann. 

BALART,  GABRIEL,  born  in  Barce- 
lona, Sjmin,  June  8,  1824,  still  living,  1888. 
Dramatic  composer  ;  began  his  musical 
studies  in  Spain,  finished  them  in  Paris, 
and  returned  home  iu  1852.  He  has  been 
orchestra  leader  of  the  ijrincipal  theatres 
of  Barcelona  and  of  Madrid,  and  has  pub- 
lished vocal  and  instrumental  pieces,  and 
several  zarzuelas  :  Un  rapacion  de  Candas  ; 
Los  guardias  del  Rej'  de  Siam  (Barcelona, 
18G6) ;  El  tulipan  de  los  mares  ;  Amor  y 
Arte. — Fi'tis,  Supplement,  i.  38. 

BALATKA,  HANS,  born,  of  Austrian 
parentage,  in  H  o  ff  - 
nungsthal,  Moravia, 
March  5,  1828,  still  liv- 
ing, 1888.  He  began 
his  musical  education 
as  a  choir-boy  in  the 
01m  (itz  Cathedral  ;  in 
1846^8  he  studied 
harmony,  composition, 
and  singing  in  Vienna, 
Seohter,  and  Gentiluomo, 
and  during  that  time  was  conductor  of 
the  Academical  Singing  Societies  in  that 
city.  In  consequence  of  the  Revolution 
of  1848  he  went  to  America  in  1849,  and 
settled  in  Milwaukee,  where,  in  1851,  he 
founded  the  Milwaukee  Musikvei-ein,  of 
which  he  was  the  conductor  for  nine 
years.      In   1860   he  went   to   Chicago   to 


under 


conduct  Mozart's  Requiem,  and  accejsted 
the  leadership  of  the  Philharmonic  Society, 
which  he  conducted  six  years,  and  in  1862 
became  conductor  also  of  the  Musical  Un- 
ion. He  gave  symphony  concerts  on  his 
own  account,  iu  1867  became  conductor  of 
the  Germania  Mannerchor,  in  1870  made 
a  concert  tour  with  Madame  Pappenheim 
through  the  Northwest,  and  after  again 
leading  the  Milwaukee  Musikvereiu,  re- 
turned, in  1873,  to  Chicago,  where,  with 
the  exception  of  a  short  engagement  in 
St.  Louis,  he  has  since  resided.  During 
these  later  years  he  has  organized  the  Lie- 
derkranz  Society  and  the  Mozart  Club,  both 
vocal,  and  he  is  now  (1888)  conductor  of 
the  newly  established  Chicago  Symjjhony  So- 
ciety. Works  :  The  Power  of  Song,  double 
chorus  for  male  voices,  received  first  prize 
at  the  Cincinnati  Siingerfest,  1856  ;  Festi- 
val Cantata  for  soprano  and  grand  orches- 
tra, 1869  ;  about  20  fantasias  and  tran- 
scrij)tions  for  orchestra ;  Quartets  and  cho- 
ruses for  male  and  mixed  voices ;  26 
songs  with  orchestral  and  pianoforte  accom- 
paniments. 

BALBI,  LUDOVICO,  born  iu  Venice, 
middle  of  16th  century,  died  there  in 
1608.  Church  composer  and  contrapunt- 
ist, pupil  of  Costanzo  Porta.  Early  in  life 
he  entered  the  Franciscan  order,  and  about 
1591  became  maestro  di  cappella  at  S. 
Antonio,  Padua,  and  about  1606  at  the 
convent  of  his  order,  Venice.  He  was 
esteemed  one  of  the  most  eminent  musi- 
cians of  his  time,  a  reputation  justified  by 
his  numerous  masses,  motets,  and  madri- 
gals (Venice,  1576-1606).  With  Giovanni 
Gabrieli  and  Orazio  Vecehi  he  edited : 
Graduale  et  Antiphonarium,  juxta  ritum 
Missalis  et  Breviarii  novi  (Venice,  1591). — 
Fctis  ;  Mendel. 

BALBI,  MELCHIORE,  Cavaliere,  born 
in  Venice,  June  4,  1796,  died  in  Padua, 
June  22,  1879.  Organist,  pupil,  at  Padua, 
of  Alessandro  Nini  and  of  Gaetano  Valeri 
for  pianoforte  and  organ,  of  Antonio  Calegari 
for  harmony  and  fugue.     He  was  maestro 


U3 


BAL 


concertatore  of  two  theatres  in  1818,  maes- 
tro di  cappella  at  S.  Antonio  in  1853  ; 
Academician  of  the  Institute  of  Florence  in 
1868,  for  wliieh  he  wrote  three  memoirs, 
and  for  which  he  was  made  Chevalier  of 
the  Order  of  the  Crown  of  Italy,  and  a 
member  of  many  Italian  and  foreign  socie- 
ties. Works  :  Solemn  mass.  Requiem 
mass,  Solemn  do.,  with  choruses,  orches- 
tra, and  four  organs,  all  performed  at  S. 
Antonio's,  1831,  18G9,  1871.  He  was  the 
author  also  of  the  following  theoretical 
works :  Sistema  armonico  d'  Antonio  Cale- 
gari  (Milan,  1829)  ;  Grammatica  ragionata 
della  musica  sotto  1'  aspetto  di  lingua 
(1845)  ;  Nuova  Scuola  casata  sul  sistema 
semi-tonato  equabile,  1  jsart  (1872). — Fetis, 
Supplement,  i.  38. 

BAL  COSTUMlfi  (Costume  BaU),  twen- 
ty characteristic  pieces  for  pianoforte  {-i 
bands),  by  Anton  Eubinstein,  op.  103.  Pub- 
lished by  Bote  &  Bock  (Berlin).  Two  series 
of  these  pieces  were  afterwards  scored  for 
orchestra  by  the  composer. 

BALDASSAKI,  PIETRO,  Roman  com- 
poser of  the  17th  century.  He  was  the  au- 
thor of  an  oratorio,  Applausi  eterni  dell' 
Amore  manifestato  nel  Temj>o  (Brescia, 
1709).— Ft'ti.s. 

BALDUCCI,  GIOVANNI,  Italian  dramatic 
composer,  contemporary,  pupil  of  the  Royal 
College  of  Music,  Naples.  Works  :  II  Conte 
di  Marsico,  melodrama  for  female  voices, 
with  accompaniment  for  two  pianofortes, 
1830  ;  La  sorciera  di  Benevento,  opera  in 
two  acts,  Naples,  1837  ;  Bianca  Tui'enga, 
oijera,  Naj^les,   1838. — Fetis. 

BALFE  (Balph),  MICHAEL  WILLIAM, 
born  at  Limerick,  Ireland,  May  15,  1808, 
died  at  Rowney  Abbey,  Hertfordshire,  Oct. 
20,  1870.  Dramatic  composer,  baritone 
singer,  and  violinist.  After  instruction 
on  the  violin,  he  studied  under  O'Rourke 
(known  in  London  as  Rooke),  who  brought 
him  out  as  a  violinist  in  May,  181G.  In 
1818  he  composed  a  ballad,  "  The  Lover's 
Mistake,"  which  was  sung  by  Mme  Vestris 
in  Paul  Pry.     In  1824  he  played  successful 


violin  solos  at  the  Loudon  oratorios,  and 
was  subsequentlj'  engaged  in  the  Drury 
Lane  orchestra, 
which  he  led  when 
the  director,  T. 
Cooke,  appeared  on 
the  stage.  About 
this  time  he  studied 
composition  under 
C.  F.  Horn,  organist 
of  St.  George's  Chajj- 
el,  W  i  n  d  s  o  r.  In 
1825,  under  the  pat- 
ronage of  Count  Mazzara,  he  visited  Rome, 
where  he  studied  counterpoint  under  Fre- 
dcrici,  afterwards  head  of  the  Conservatorio, 
Milan.  Later,  he  received  vocal  instruction 
from  Filippo  Galli,  at  Milan,  where  in  1827 
he  comjjosed  his  first  dramatic  piece,  a  bal- 
lad entitled,  La  Perouse.  Rossini  offered 
him  an  engagement  as  principal  baritone  at 
the  Italian  Opera,  Paris,  with  the  proviso 
that  he  should  take  preparatory  lessons 
from  Bordogni  ;  the  proj^osal  was  accepted, 
Balfe  making  a  successful  debut  in  Figaro 
in  1828.  In  1829-30  he  was  principal  bari- 
tone at  Palermo,  where  he  produced  his 
first  opera,  I  Eivali  di  se  stessi,  written  in 
twenty  days.  Sliortly  afterwards  he  sang  with 
Mallbran  at  La  Scala,  Milan,  and  in  1835  re- 
turned to  London,  where  he  sang  at  public 
and  private  concerts.  From  the  latter  year 
dates  his  career  as  a  eomi^oser  of  English 
operas.  In  the  following  autumn  he  appeared 
at  Drury  Lane  ;  iu  1837  he  sang  the  part  of 
Theodore  in  his  own  opera,  Joan  of  Arc  ;  and 
in  1839  appeared  as  Farinelli  in  Barnett's 
opera,  at  Drurj'  Lane,  and  iu  a  translation 
of  Ricci's  Scaramuccia,  at  the  Lyceum.  Be- 
ing unsuccessful  as  manager  of  the  Lj-ceum 
(the  English  opera-house),  he  went  iu  1840 
to  Paris,  where  he  wrote,  and  jjroduced  at 
the  Opera  Comique,  two  operas.  The  most 
popular  and  successful  of  Balfe 's  works,  The 
Bohemian  Girl,  was  given  in  London,  Nov. 
27,  1843.  While  writing  L'Etoile  de  Seville 
for  the  Acadcmie  Royale  iu  1845,  he  was  re- 
called to  London  to  make  aiTangements  for 


BALLADE 


his  engagement  as  conductor  of  Her  Majes- 
ty's Theatre,  a  position  he  hekl  until  its 
close  in  1852.  Balfe  ^Yas  in  Vienna  about 
1846,  and  in  Berliu  bringing  out  some  of 
his  oj^eras  in  1849  ;  in  the  latter  year, 
until  1852,  he  conducted  a  series  of 
national  concerts  at  Her  jMajesty's 
Theatre ;  but,  although  important 
■works  were  produced,  this  enteri^rise 
■was  not  successful.  In  1852  he  visited 
St.  Petersburg  and  Trieste,  returning 
to  England  in  1856.  A  French  ver- 
sion of  The  Bohemian  Girl,  revised  and  added 
to  by  the  composer,  was  given  at  the  Thea- 
tre Lyrique,  Paris,  in  December,  1869,  with 
such  success  that  he  was  made  chevalier  of 
the  Legion  of  Honor  by  the  French  Emperor, 
and  Commander  of  the  Order  of  Carlos  by 
the  Regent  of  Spain.  Works — Operas  :  I 
Rivali  di  se  Stessi,  Palermo,  1829  ;  Un  Av- 
vertimento  ai  Gelosi,  Pavia,  1830  ;  Eurico 
rV.  al  Passo  della  Marna,  Milan,  1831  ; 
The  Siege  of  Rochelle,  London,  Drury  Lane, 
1835  ;  The  Maid  of  Artois,  ib.,  1836  ;  Cath- 
erine Grey,  Joan  of  Arc,  ib.,  1837  ;  Diadeste, 
ib.,  1838';  Falstaff,  Her  Majesty's  Theatre, 
1838  ;  Keolanthe,  Lyceum,  1840  ;  Le  Puits 
dAmour,  Paris,  Oi^era  Comique,  1843  ;  Les 
quatre  Fils  dAymon,  ib.,  1844  ;  The  Bo- 
hemian Girl,  London,  Drury  Lane,  1843  ; 
Daughter  of  St.  Mark,  ib.,  1844  ;  The  En- 
chantress, ib.,  1845  ;  UEtoile  de  Seville, 
Paris,  Academic  Roy  ale  de  Musique,  1845  ; 
The  Bondman,  London,  Drury  Lane,  1846  ; 
The  Maid  of  Honour,  ib.,  1847  ;  The  Sicil- 
ian Bride,  Drury  Lane,  1852  ;  The  Devil's 
in  it,  Surrey  Theatre,  1852  ;  Pittore  e  Duca, 
Trieste,  1856  ;  The  Rone  of  Castile,  Lyceum, 

1857  ;  La  Zingara  (Italian  vei-sion  of  The 
Bohemian    Girl),    Her    jMajesty's    Theatre, 

1858  ;  Salanella,  Lyceum,  1858  ;  Bianca, 
1860  ;  The  Puritan's  Daughter,  1861  ;  The 
Armourer  of  Nantes,  Blanche  de  Nevers, 
1863  ;  The  Sleeping  Queen,  operetta,  Lon- 
don, Gallery  of  Illustration,  1863  ;  La  Bo- 
hemienne  (French  version  of  The  Bohemian 
Girl,  with  many  additions,  and  extended 
into  five  acts),  Paris,  Theatre  Lyrique,  1869. 


Balfe's  last  opera.  The  Knight  of  the  Leop- 
ard, was  given  in  Italian  as  II  Talismano  at 
Drury  Lane  on  June  11,  1874.  Miscellane- 
ous music  :  Mazeppa,  cantata  (London),  2 


others,  written  at  Paris  and  Bologna,  and 
many  ballads,  glees,  part-songs,  etc. — Ken- 
ney,  A  Memoir  of  ]\I.  W.  Balfe  (London, 
1875)  ;  Clement,  Mus.  celebres,  511  ;  Fetis ; 
Grove  ;  Mendel ;  Schilling,  Supplement,  14 ; 
Riemann,  Lex. 

BALLADE,  the  title  given  by  Chopin  to 
four  pieces  of  his  pianoforte  music,  which 
have  no  special  character  beyond  that  they 
are  all  written  in  triple  time.  1,  Op.  23,  in 
G  minor  ;  2,  op.  38,  in  F  major  ;  3,  op.  47, 
in  A-flat  major  ;  4,  op.  52,  in  F  minor. 
Brahms  also  has  published  four  Balladen 
for  the  pianoforte,  op.  10  ;  and  Liszt  two 
Ballades  for  the  same,  op.  36. 

BALL.ADE  SUR  LA  MORT  D'OPHfi- 
LIE.     See  Tridia. 

BALLAROTTI,  FRANCESCO,  Italian 
dramatic  composer,  flourished  about  the 
end  of  the  17th  and  the  early  part  of  the 
18th  centurj'.  Works — O^jeras :  Alcibiade 
(Alciade  ?),  o  violenza  d'  amore  (with  Polla- 
rolo  and  Gasparini),  given  at  Venice,  1699  ; 
Ai'iovisto  (with  Perti  and  Paolo  Magni), 
IVIilan,  1699  ;  L'  Amante  impazzito,  Venice, 
1714.— Fetis. 

BALLERINA  AMANTE,  LA,  Italian  op- 
era, music  by  Cimarosa,  represented  at  Na- 
ples, 1782. 

BALLO  DELLE  INGRATE,  ballet  by 
Claudio  Monteverde,  represented  in  Man- 
tua, 1608.  This  work,  performed  at  the  same 
time  with  the  composer's  Orfeo,  was  a  mytho- 
logical spectacle,  showing  the  punishment 
in  Hades  of  fair  ones  who  trifle  with  the 
affections  of  their  swains. 


114 


BALLO 


BALlLO  in  MASCHERA,  IL  (The  Masked 
Bail),  Italian  opera  in  four  acts,  text  by  Som- 
lua,  music  by  Verdi,  tirst  represented  at  the 
Teatro  Apollo,  Rome,  Feb.  17,  1859.  It 
was  originally  called  Gustavo  HI.,  the  sub- 
ject being  identical  with  that  of  Gusiave 
HI.  ou  le  Bal  Masque  of  Scribe,  set  to 
music  by  Auber,  and  was  written  for  the 
San  Carlo,  Naples ;  but  during  the  re- 
hearsals Orsini  made  his  attempt  on  the 
life  of  Najjoleon  III.  (Jan.  13,  1858),  and 
the  jjerformauce  was  interdicted  by  the  au- 
thorities on  account  of  its  conspiracy  scene. 
Verdi's  refusal  to  adapt  his  music  to  a  new 
libretto  led  to  a  suit  against  him  by  the 
management  of  the  San  Carlo  for  200,000 
francs  damages,  and  almost  to  a  revolution 
in  Naples,  where  the  poj^ulace  greeted  the 
composer  with  shouts  of  "Viva  Verdi,"  the 
letters  of  his  name  being  given  a  political 
significance  by  being  made  to  represent  the 
initials  of  I'ittorio  jEJmmanuele -St)  Z*'  /talia. 
Verdi  finally  took  his  work  to  Rome,  where 
the  censorship  permitted  its  production 
with  a  change  of  scene  and  characters. 
The  scene  was  changed  to  Massachusetts, 
and  the  action  was  made  to  turn  on  the 
assassination,  at  a  masked  ball  in  the  co- 
lonial times,  of  Riccardo,  Earl  of  Warwick 
and  Governor  of  Boston,  instead  of  King 
Gustavus  m.  of  Sweden.  In  its  new  guise 
the  piece  was  full  of  anachronisms  and  ab- 
surdities, but  the  beauty  of  its  musical  set- 
ting made  it  au  unqualified  success.  On 
its  production  in  Paris,  at  the  Theatre 
Italien,  Jan.  13,  1861,  JLuio,  who  was  cast 
for  Riccardo,  objected  to  the  costume 
(small  clothes,  red  coat,  and  epaulets), 
and  the  scene  was  again  changed  from 
Boston  to  Naples,  and  the  Earl  of  Warwick 
was  made  into  the  Duke  of  Olivarez.  The 
principal  characters,  Riccardo  and  Amelia, 
were  represented  originally  by  Fi'aschini 
and  Mile  Lagrua.  The  role  of  Amelia  is 
a  favourite  with  Mme  Zelia  Trebelli  (nee 
Gillebert,  Paris,  1838  ;  her  stage  name  is 
obviously  her  maiden  name  reversed),  whose 
marriage,  in  18G3,  to  the  tenor  singer  Ales- 


sandro  Bettini,  was  followed  socm  after  by  a 
separation. 

Cast  in  Paris. 

Duca  d'  Olivarez Mario. 

Renato,   Secretary Graziani. 

Oscar,  a  page Battu. 

Adelia,  wife  of  Renato Penco. 

Ulrica,  a  sorceress Mme  Alboni. 

Un  Ballo  in  Maschera  was  first  produced 
in  London,  at  the  Lyceum,  June  15,  18G1  ; 
a  French  version,  text  by  Edouard  Duprez, 
was  given  at  the  Theatre  Lj'rique,  Paris, 
November,  18G9.  The  opera  is  strong  in 
dramatic  situations,  to  which  the  music  is 


Zelia  Trebelli. 

well  adapted.  Among  the  most  noteworthy 
numbers  are  in  the  first  act  the  romanza  of 
Riccardo :  "  La  rivedrii,  nell'  estasi ; "  the 
aria  of  Reiuhart,  "Di  speranze  e  glorie  pi- 
ena  ; "  and  the  ballata  of  Oscar,  "  Volta  la 
terrea  f route  alle  stelle."  In  the  second 
act  (or  the  third  as  now  sung)  are  Amelia's 
aria :  "  Ma  dall'  arido  stelo  ; "  her  duet  with 
Riccardo,  "M'ami,  in' ami;"  and  the  trio 
of  the  two  and  Reiuhart,  "Odi  tu  come." 
The  last  act  opens  with  a  scene  between 
Reinhart  and  Amelia,  in  which  the  latter 
sings  a  minor  andante,  "Morro,  ma  prima, 
in  grazia,"  and  the  former  au  aria,  "  O  dol- 
cezze  perdute,"  which  is  always  popular. 
Then  comes  the  trio  and  the  quartet  of 
the  conspiracy  music,  and  later  the  beau- 


BAL  MASQUE 


tiful  song  of  the  page,  "  Saper  voireste," 
aud  tiually  the  ball  scene  and  the  assassiua- 
tiou. — Hauslick,  Moderne  Oper,  237. 

BAL  HIASQUE,  LE,  by  Auber.  See 
Gustave  III. 

BALTAZAR,  oratorio,  music  by  Giaeomo 
Carissimi.  MS.  in  National  Library,  Paris. 
It  has  been  published  by  Chrysander  (Schott). 

BALTAZARINI  (Baltageriui,  Balthazar 
de  Beaujoyeuls),  flourished  in  the  16th 
century.  An  Italian  musician,  and  jjerhaps 
the  best  violinist  of  his  day.  Brought  from 
Piedmont  to  Paris  in  1577  by  the  Marquis 
de  Brissae,  he  became  iuteudant  of  music 
aud  first  valet  de  chambre  to  Catherine 
de'  Medici,  queen  dowager.  He  introduced 
into  France  the  five-stringed  Italian  violin 
(tuned  by  4ths  from  A  to  F).  But  his  most 
important  service  was  the  introduction  of 
the  Italian  dances  into  Paris  ;  he  was  the 
real  founder  of  the  ballet  in  France,  aud, 
through  the  ballet,  of  the  opera.  In  this 
labor  he  associated  with  himself  the  best 
Parisian  musicians  of  the  daj'.  His  most 
important  work  was  Circe,  or  Le  ballet 
comique  de  la  Heine  (-Ito,  Paris,  Adrieu 
Le  Eoy  et  Robert  Ballard,  1582).  Some 
other  ballets  by  him  are  in  MS.  in  the  Na- 
tional Library,  Paris. — Ludovic  Celler,  Les 
Origiues  de  I'Opera,  135  (Paris,  1868). 

B.\LTHAS.Ul,  FLORENCE,  Henry  Mat- 
thias BaUhasar,  called,  born  at  Arlon,  Bel- 
gium, Oct.  21,  1844,  stiU  living,  1888.  Dra- 
matic composer  and  pianist,  pujDil  at  the 
Conservatoire,  Brussels,  in  1857,  studied 
the  pianoforte  under  Auguste  Dupout,  the 
organ  under  Leramens,  harmony  under 
Adolphe  Samuel,  fugue  and  counterj)oint 
inider  Futis,  obtaining  successively  all  the 
prizes  in  these  studies.  He  performed  in 
public  at  Namur,  where  he  lived,  and  in 
1868  brought  out  a  dramatic  overture  at 
the  Concerts  populaires  in  Brussels,  and  in 
1870  the  fragments  of  several  symphonies. 
In  1875  he  took  the  jDrize  given  by  the  city 
of  Lille  for  a  cantata.  Works:  Une  croy- 
ance  bretonne,  opura-bouffe,  given  at  Brus- 
sels, Thciitre  de  la  Monnaie,  about  1868  ; 


Le  Docteur  Quinquina,  operetta,  ib..  Casino 
des  Galeries  Saint-Hubert ;  Grand  concerto 
symphonique  for  pianoforte  and  orchestra, 
Namur,  1870  ;  Messe  solennelle,  with  cho- 
rus and  orchestra,  Namur,  1872  ;  Cantata 
for  soli,  chorus,  and  orchestra,  Lille,  1875  ; 
Several  fantaisies  for  pianoforte  ;  a  concerto 
for  the  trumpet ;  ballet  music,  etc. — Fetis, 
Supplement,  i.  39  ;  Mendel  ;  Ergiinz.,  23. 

BALTZAR,  THOMAS,  born  in  Liibeck, 
Germany,  about  1630,  died  in  London, 
buried  July  27,  1663.  Violinist,  settled  in 
England  in  1656,  the  first  great  performer 
ever  heard  there.  At  the  Restoration  he 
became  leader  of  the  king's  celebrated  band 
of  twenty-four  violins.  Anthony  Wood  cred- 
its him  with  having  introduced  the  shift 
and  the  use  of  the  upper  part  of  the  finger- 
board. His  printed  compositions  appear  in 
Playford's  Division  Violin  ;  a  set  of  sonatas 
for  lyra  violin,  treble  violin,  and  bass  viol, 
were  sold  at  the  auction  of  Thomas  Britton, 
aud  Burney  owned  some  MS.  solos.— Grove  ; 
Fetis;  Burney;  Schilling. 

BAMBINI,  FELICE,  born  at  Bologna, 
Italy,  about  1742,  died  in  Paris  during  the 
first  years  of  this  century.  Dramatic  com- 
poser and  jjianist,  went  to  France  in  1752 
with  an  Italian  opera  troupe,  of  which  his 
father  was  director,  first  aft  Strasburg,  then 
in  Paris,  where  young  Bambini,  then  nine 
years  old,  accomiiauied  the  ^performances 
on  the  pianoforte,  and  even  composed  airs, 
which  were  introduced  in  the  intermezzi. 
Remaining  in  Paris  after  the  expulsion  of 
the  Italian  troupe,  he  studied  imder  Bor- 
denave  and  Rigade,  and  settled  down  as  a 
teacher  of  the  pianoforte.  Works :  Les 
amauts  de  village,  comic  opera,  given  in 
Paris,  Nouveau  Theatre  Italien,  1764  ;  Ni- 
caise,  do.,  Opera  Comique,  1776  ;  LAmour 
r  emporte,  do.,  Theatre  de  Beaujolais,  about 
1787  ;  8  sonatas  for  pianoforte  ;  Trios  for 
violin,  viola,  and  violoncello ;  6  sympho- 
nies ;  Little  airs  for  ijianoforte  with  violin. — 
Fetis  ;  Schilling. 

BANCHIERI,  ADRIANO,  born  in  Bo- 
logna in  1567,  died  in  1634.    Organist,  pujnl 


BAKCK 


of  Gerami,  who  was  organist  of  the  Cathe- 
dral of  Lucca,  aud  later  of  S.  Marco  in  Ven- 
ice. Banehieri  was  first  organist  of  Sta. 
Maria  iu  Regola,  Iniola,  and  in  1G03  of  S. 
Michele  in  Bosco,  near  Bologna.  He  wrote 
church  and  dramatic  music,  and  intermedj 
for  comedies,  such  as  La  pazzia  senile,  etc. 
(Venice,  1598,  reprinted  at  Cologne) ;  its 
pendant,  La  jsrudeuza  giovenile,  which  he 
entitled  Comedia  iu  musica  (Milan,  1G07)  ; 
La  barca  di  Venezia  a  Padua  (Venice,  1623) ; 
and  La  fida  fanciulla,  etc.  (Bologna,  1(528, 
1629).  His  canzonette  for  four  and  three 
voices  are  dated  1595,  1596,  1597, 1598  ;  and 
his  madrigals  for  three  and  four  voices  1593, 
1594,  1600,  1602,  1623.  Besides  these  he 
had  many  collections  of  motets,  concertos, 
and  masses.  His  7th  work  is  Fautasie  e 
psalmi,  canzone  alia  francese  (1603).  Of  his 
theoretical  works  his  first,  "  Conclusioni  per 
orgauo,"  appeared  at  Lucca  iu  1591 ;  his  most 
important,  "L'  Organo  suonarino  "  (Venice, 
1605),  contained  the  first  jwecise  rules  for 
accompanying  from  a  figured  bass  (pub- 
lished separately  by  Lomazzo  at  Milan) ;  iu 
the  "  Moderna  practica  musicale  "  (Venice, 
1613),  he  suggests  alterations  in  the  basso 
continuo  in  consequence  of  its  influence  on 
the  ornaments  in  singing.  Another  book, 
the  "  Cartella  Musicale  "  (1614),  contains  a 
jH'oject  for  founding  an  academy  of  science 
and  art  at  his  monastery  at  Bologna.  Ban- 
ehieri wrote  comedies  under  the  name  of 
Camillo  Scaligeri  della  fratta. — Grove ;  Fe- 
tis  ;  Gerber,  N.  Lex. ;  Schilling. 

BANCK,  KARL,  born  at  Magdeburg,  May 
27,  1809,   still  living, 
1888.       Instrumental 
and   vocal   composer. 


pupil  in  Berlin  of  B. 
Klein  aud  L.  Berger, 
aud  at  Dessau  (1829) 
of  Friedrich  Schnei- 
der. He  visited  Italy  in 
1831-32,  then  lived  at 
Magdeburg,  Berlin, 
and  Leipsic,  where  he  entertained  friendly 
relations  with  Robert  Schumann,  then  at 


Tubingen  and  Jena  until  1840,  when  he  set- 
tled at  Dresden.  In  1861  he  married  an 
American,  and  visited  America  in  1867.  He 
is  one  of  the  most  eminent  musical  critics 
of  Germany.  Besides  songs  and  part-songs 
he  has  published  some  music  for  pianoforte. 
— Mendel ;  Riemann  ;  Schilling,  Sujiplement. 
BANISTER,  HENRY  CHARLES,  born 
in  London,  June  13, 
1831,  still  living, 
1888.  Pianist,  son 
and  pujiil  of  Henry 
Joshua  Banister 
(1803-1847,  violon- 
cellist), but  mostly 
self-taught ;  studied 
also  at  the  Royal 
Academy  of  Music 
under  Cipriani  Potter,  won  the  King's  Schol- 
arship iu  1846  aud  1848,  and  became  assistant 
professor  of  harmony  and  composition  in 
1851,  and  professor  in  1853.  He  has  been  pro- 
fessor of  harmony  at  the  Guildhall  School 
of  Music  since  1880,  and  at  the  Royal  Nor- 
mal College  for  the  Blind.  Works  :  First 
Symphony  iu  D,  for  orchestra  (1847) ;  Sec- 
ond do.  in  E-flat  (1848)  ;  Third  do.  in  A 
minor  (1850) ;  Fourth  do.  in  A  (1853) ;  Fu-st 
Overture,  for  orchestra  (1849)  ;  Second  do. 
— Cymbeline,  Third  do.  (1852)  ;  Fourth  do. 
— The  Serenade;  Fifth  do. — From  Sorrow 
to  Joy  (1876)  ;  First  Quartet  for  strings 
(1848) ;  Second  do.  (1850) ;  String  quartet  in 
E  minor  ;  Sonata  iu  E,  for  pianoforte  ;  Sec- 
ond do.,  four  hands,  in  G  minor  (1850) ;  Third 
do.  in  A-flat ;  Fourth  do.  in  A  minor  ;  So- 
natas for  i^ianoforte  iu  B-flat,  F-sharp  minor 
(2),  F  minor ;  Fantasia  in  F  minor,  for 
pianoforte  (1874)  ;  Andante  aud  Rondo  for 
do.  and  orchestra  (1852)  ;  Capriceio  in  A 
minor  fordo.;  Fantasia  iu  D,  for  do.  (1863)  ; 
Intermezzo  in  E,  for  orchestra  (1875) ;  Sa- 
cred cantata  for  chorus,  solo  voices,  and  or- 
chestra (1851)  ;  The  Sea  Fairies,  cantata  for 
female  voices,  and  orchestra  (1861)  ;  The 
Maiden's  Holiday,  do.,  without  orchestra  ; 
Numerous  songs,  part-songs,  aud  pianoforte 
pieces. 


117 


BANISTEK 


BANISTER,  JOHN,  born  in  Loudon  in 
1G30,  died  there,  Oct.  3,  1679.  Dramatic 
composer  and 
violinist.  His  vio- 
lin-playing  at- 
tracted the  notice 
of  Charles  II.,  who 
sent  him  to  Fi'ance 
to  study,  and  on 
his  return  in  1663 
made  him  leader 
of  his  band.  He 
was  the  first  to  es- 
tablish in  London  lucrative  concerts,  which 
he  kept  up  until  near  the  time  of  his  decease. 
He  wrote  the  music  to  the  tragic  opera  of 
Circe,  by  Dr.  Charles  Davenant,  eldest  son 
of  Sir  "William  Davenant,  given  in  1676  at 
the  Duke  of  York's  Theatre  ;  and  also  wrote, 
jointly  with  Pelham  Humfrey,  the  music  to 
The  Tempest,  performed  in  1676.  He  was 
one  of  the  contributors  to  Playford's  Courtly 
Masquing  Ayres  (1662),  and  25ublished  some 
lessons  for  viols  or  violins. — Grove  ;  Haw- 
kins, Notes  to  North's  Memoirs  of  Musiek. 
BAPTISTE,  JOHANN  ALBRECHT 
FRIEDRICH,  born,  of  French  parents,  at 
Oettingen,  Bavaria,  Aug.  8,  1700,  died  at 
Cassel  about  1764.  Yiolinist,  lived  in  1703- 
20  at  Darmstadt,  visited  Paris  in  1718,  and 
travelled  in  Italy  and  most  of  the  European 
countries  until  1726,  when  he  settled  at 
Cassel  as  court  dancing-master,  his  father's 
2)rofession.  "Works  :  12  solos  for  violin  ;  6 
do.  for  violoncello ;  6  trios  for  oboe  and 
violoncello  ;  36  solos  for  bass  viol  ;  12  con- 
certos for  do. ;  6  sonatas  for  flute. — Fetis  ; 
Schilling. 

BAPTISTE  (real  name  Baptiste  Anet), 
lived  last  of  the  17th  and  beginning  of  the 
18th  centuries.  Violinist,  pupil  of  Corelli 
for  foui"  years,  from  1700.  He  went  to 
Paris,  where  he  was  looked  upon  as  a  musi- 
cal prodigy,  and  did  much  to  develop  violin- 
playing  by  introducing  Corelli's  method  ; 
but  he  failed  to  suit  the  taste  of  Louis  XIV., 
who  preferred  Lulli's  music,  and  Baptiste 
went  to  Poland,   where  he  became  music 


director  to  the  King.  Published  works  : 
Sonates  pour  violou,  1,  2,  3  liv. ;  Deux  suites 
de  pieces  a  deux  musettes,  ceuv.  2  ;  Six  duos 
pour  deux  musettes,  ceuv.  3. — Futis. 

B.APTISTIN  (Batistiu),  JEAN,  born,  of 
German  parents,  in  Florence,  Italy,  about 
1690,  died  in  Paris,  Dec.  9,  17.55.  Dramatic 
composer  and  violoncellist  in  the  orchestra 
of  the  Opera  in  Paris.  His  real  name  w^as 
Johann  Struck.  He  stood  in  high  favonr 
with  Louis  XTV.,  who  allowed  him  an  an- 
nual pension  during  his  sojourn  in  France. 
"Works :  Meleagre,  Ij'ric  tragedy,  given  in 
Paris,  Academic  Koyale  de  Musique,  1709  ; 
Manto  la  Fee,  do.,  ib.,  Opera,  1711  ;  Poly- 
dore,  do.,  Academie,  1720  ;  Four  books  of 
cantatas  (Paris,  1706,  1708,  1711,  17U)  ; 
Collection  of  arias  (ib.,  1709).  Several  op- 
eras and  ballets,  written  for  the  court,  and 
not  performed  in  Paris. — Fetis  ;  Mendel. 

BARBE,  ANTOINE,  born,  probably  in 
Hainault,  in  the  early  part  of  the  16th  cen- 
tury, died  at  Antwerp,  Dec.  4,  1564.  Church 
composer,  called  to  Antwerp  in  1527  as  mai- 
tre  de  musique  of  the  maitrise  of  Notre 
Dame,  which  position  he  held  for  thirty-five 
j-ears,  becoming  so  famous  as  a  composer 
and  leader  that  the  best  musicians  of  that 
epoch  placed  themselves  under  his  direc- 
tion. Nearly  aU  of  his  numerous  masses, 
motets,  hymn.s,  anthems,  etc.,  that  were  ex- 
ecuted daily  at  Notre  Dame,  were  destroyed 
with  the  cathedral  by  the  Iconoclasts  in 
1566.  Only  the  following  survive  :  Two 
motets  (Antwerp,  Van  Visseuaken,  1542) ; 
Four-part  song  (ib.,  Tylman  Susato,  1544)  ; 
Vecy  la  danse  de  Barbaric,  mass  (ib.,  1545- 
46).  His  sou  (died,  1604)  and  grandson 
(died,  1626),  both  named  Antoine,  wex-e  also 
musicians  of  distinction. — Biog.  nat.  de  Bel- 
gique,  i.  703. 

BARBE-BLEU  (Blue  Beard),  opera-bouffe 
in  three  acts  and  four  tableaux,  text  by 
Henri  Meilhac  and  Ludovic  Halevy,  music 
by  Offenbach,  first  represented  at  the  Thea- 
tre des  Varietus,  Paris,  Feb.  5,  1866. 

B.ARBELLA,  ElLiNUELE,  born  in  Na- 
ples, beginning  of  the  18th  century,  died 


118 


BARBEREAU 


there  iu  1773.  Violinist ;  pupil  of  his  father 
Francesco  Barbella,  of  Augjelo  Zaga,  and  of 
Pasqualiiio  Biiii,  a  pupil  of  Tartini  in  Na- 
ples ;  instructed  in  counterpoint  by  Michele 
Gabbalone  and  Leo.  He  had  Kaimondi  for 
his  pupil.  Works  :  C  duets  for  2  violins  and 
Gsonatasforviolin  (London) ;  6  duets  for  vio- 
lin ;  6  duets  for  'cello,  op.  4  (Paris).  Burney, 
in  his  History  of  Music,  gives,  Tinna  Tonna, 
j)er  prender  souno,  a  chai-ming  piece  for 
double  string,  by  Barbella. — Ft'tis  ;  Schil- 
ling. 

BARBEREAU,  (MATHUEIN  AUGUSTE) 
BALTHAZAR,  born  iu  Paris,  Nov.  14,  1799, 
died  there,  July  18,  1879.  Instrumental 
composer,  pupil  of  Eeicha  at  the  Conserva- 
toire. He  won  the  grand  prix  in  1824,  vis- 
ited Italy  and  Germanj^  was  for  some  years 
chef  d'orchestre  at  the  Theatre  des  Nou- 
veautes,  and  at  the  Theatre  FranCj'ais,  then 
devoted  himself  for  many  years  to  historical 
studies  and  teaching,  and  in  1872  became 
professor  at  the  Conservatoire.  Works  : 
Agnes  Sorel,  cantata  (grand  jjrix,  1824)  ; 
Several  overtures  for  orchestra ;  Part  of 
the  music  to  the  lyrical  drama  Les  Syba- 
rites de  Florence,  given  at  the  Theatre  des 
Nouveautes,  1831.  He  wrote  a  treatise 
on  composition  (1845,  unfinished)  ;  and 
"Etudes  sur  I'origine  du  systfeme  musical  " 
(1852,  do.).— Fetis;  do..  Supplement,  i. 
42. 

BARBERS  OF  BASSORA,  THE,  English 
comic  oj)era  in  two  acts,  text  by  Madison 
Morton,  music  by  John  Hullah,  represent- 
ed at  Covent  Garden,  London,  Nov.  11, 
1837. 

BABBLER,  FRfiDERIC  fiTIENNE,  born 
in  Metz,  Nov.  15,  1829,  still  living,  1888. 
Dramatic  composer,  pupil  of  Darondeau,  or- 
ganist at  Bourges.  He  was  destined  for  the 
army  or  the  law  by  his  family,  but  a  little  ope- 
ra-comique  which  he  produced  at  Bourges, 
Le  Manage  de  Colombine,  decided  his  career 
and  enabled  him  to  devote  himself  to  the 
study  of  music.  He  went  to  Paris,  was  pre- 
sented to  Sevestre,  director  at  the  Lyrique, 
and    made    the   acquaintance   of    Adoljahe 


Adam,  who  gave  him  lessons  in  composi- 
tion and  helped  him  to  bring  out  at  the 
Lyri<pie,  in  1855,  Une  nuit  a  Seville,  which 
was  favourably  received.  Two  months  after 
he  produced  Rose  et  Narcisse  (1855),  and 
since  that  time  he  has  had  his  operas  played 
on  all  the  lyric  stages  of  France  and  in 
all  the  cafos-chantants  of  Paris.  He  has 
written  more  than  sixty  op6ras-comiques, 
ojserettes,  and  ballets,  besides  three  hun- 
dred duets,  romances,  melodies,  chanso- 
nettes,  and  dance  music.  He  was  chef  d'or- 
chestre of  the  Theatre  International  in 
1867,  and  has  been  director  at  the  Alcazar 
for  some  years.  He  has  been  musical  critic 
and  has  written  for  many  musical  sheets. 
Besides  operas  mentioned,  the  following 
have  been  given  in  Paris,  at  the  Folies  Nou- 
velles  :  Le  Pacha,  Fraucaster,  Le  Page  de 
Mme  Malbrough,  Le  Faux  Faust,  1858  ;  Le 
Docteur  Tam-Tam,  1859.  At  the  Theatre 
Dejazet  :  Monsieur  Deschalumeaux,  Le 
grand  Roi  d'Yvetot,  1859  ;  Le  loup  et 
I'agneau,  18G2  ;  Simon  Terre-Neuve,  1863  ; 
Deux  permissions  de  dix  heures,  1864  ; 
Panne  aux  airs.  At  the  Theatre  du  Chalet 
des  lies  :  Les  amours  d'un  Shah,  Flamberge 
au  vent,  1861.  At  the  Folies  Marigny  :  Ver- 
sez.  Marquis,  La  cigale  et  la  fourmi,  1862  ; 
La  gamine  du  village,  Les  trois  Normandes, 
1863  ;  Achille  chez  Chiron,  1864.  Th^-atre 
Saint-Germain  :  La  bouquetiere  de  Trianon, 
1864.  Bouifes  Parisiens  :  Mme  Pygmalion, 
1863  ;  Un  congres  de  modistes,  1865  ;  Une 
femme  qui  a  perdu  sa  clef,  1866.  Theatre 
International  :  Gervaise,  1867.  Fantaisies 
Parisiennes :  Les  oreilles  de  Midas,  1866  ; 
Les  legendes  de  Gavarni,  1867  ;  Le  soldat 
malgre  lui,  1868.  Folies  Berg^re  :  Mam'- 
zelle  Pierrot,  1869.  Varictes :  Mam'zelle 
Rose,  1874.  At  the  Concert  de  I'Eldorado  : 
Le  souper  d'Arlequin  ;  Balladine  et  Cas- 
quenfer  ;  Un  mariage  au  gros  sel ;  Don 
Ferocio ;  Le  beau  chasseur  ;  Ferme  le  di- 
manche  ;  Un  proces  en  separation  ;  On  de- 
mande  un  pretre  ;  Un  souper  chez  la  Con- 
tat  ;  L'acteur  Omnibus  ;  Un  leudemain  de 
noce ;  La  bonne  de  ma  tante  ;  Une  cause 


119 


BARBIER 


celebre  ;  Le  nez  de  cartou  ;  Le  coq  est 
mort ! ;  La  nouirice  d'Hercule  ;  Millionaire  ! 
les  point  jaunes  ;  M.  I'Alcade  ;  Maiu'  Nico- 
las ;  Le  champagne  de  ma  tante  ;  La  fer- 
miere  et  son  garjon  ;  Les  deux  clioristes  ; 
Marion  de  I'Orme,  parody ;  Luerece  d'Or- 
geat,  do.;  Le  tresor  de  Cassandra,  Les  cas- 
cades de  Pierrot,  La  batte  encliantije  (pan- 
tomimes). At  the  Alcazar  :  La  fete  de  Mme 
Denis ;  Un  scandale  a  I'Alcazar  ;  L'Orches- 
tre  des  Danoises ;  Les  pifferari,  ballet.  Un- 
represented operas :  Le  Miroir,  operetta  ;  La 
veuve  Omphale  ;  La  chaumiere  indienne, 
of)era  comique  ;  Corinne,  do. ;  Les  incroj'a- 
bles,  opera  bouife. — Fetis,  Supplement,  i. 
42. 

BARBIER  VON  SIEVERING,  DER 
(The  Barber  of  Sievering),  operetta,  parodj' 
on  the  Barbiere  di  Siviglia,  music  by  A.  Miil- 
ler,  rejDresented  at  the  Theater  ander  Wien, 
Vienna,  about  1828. 

BARBIER  DE  TROUVILLE,  LE  (The 
Barber  of  Trouville),  operetta  in  one  act, 
text  by  M.  Henri  (Jaime),  music  by  Charles 
Lecocq,  represented  at  the  Bouffes  Parisi- 
ens,  November,  1871. 

BARBIER  DE  \TLLAGE,  LE  (The  Vil- 
lage Barber),  ojaera-comique  in  one  act, 
text  by  A.  J.  Gretry,  music  by  Gretry,  rep- 
resented at  the  Theatre  Feydeau,  Paris, 
May  G,  1797.  Les  barbieres  de  village, 
French  operetta,  text  by  Blondelet  and 
Baumain,  music  by  Firmin  Bernicat,  Paris, 
1878.     See  Der  Dorfbarhier. 

BARBIERE  DI  SIVIGLIA,  IL  (The  Bar- 
ber of  Seville  ;  Fr.,  Barbier  de  Seville  ;  Ger., 
Barbier  von  Sevilla),  Italian  ojjera  bufifa, 
text  founded  on  the  celebrated  comedy  of 
Beaumarchais  (1775),  music  by  Paisiello, 
first  represented  in  St.  Petersburg  in  1780, 
and  in  Paris  at  the  Theatre  de  Monsieur  in 
the  Tuileries,  July  12,  1789,  and  at  the 
Theatre  Feydeau,  July  22,  1789.  This 
work,  sung  originally  by  Signori  Viga- 
noni,  Mengozzi,  Mandini,  Rovedino,  Raf- 
fanelli,  and  by  Signore  Morichelli,  Baletti, 
Zerbini,  and  Mandini,  achieved  a  European 
success  and  was  always  received  with  en- 


thusiasm   until    supplanted    by    Rossini's 
work. 

BARBIERE  DI  SIVIGLIA,  IL,  Italian 
opera  buffa  in  two  acts,  text  by  Sterbini,  mu- 
sic by  Rossini,  first  represented,  in  Rome, 
at  the  Teatro  Argentina,  Feb.  5,  1816  ;  in 
Paris,  at  the  Salle  Louvois,  Oct.  26,  1819. 
Rossini,  who  had  bound  himself,  Dec.  26, 
1815,  to  produce  a  new  opera  by  the  twen- 
tieth of  the  following  mouth,  hesitated  to 
accept  a  libretto  which  Paisiello  had  treated 
so  successfuU}',  but,  having  obtained  that 
composer's  permission,  wrote  the  score,  it 
is  said,  in  thirteen  days.  To  avoid  the  ap- 
pearance of  rivalry  with  Paisiello  he  named 
his  work,  Almaviva,  ossia  1'  inutile  precau- 
zione  (Almaviva,  or  the  Useless  Precaution), 
but  the  theatre  was  packed  with  the  adhe- 
rents of  the  older  composer,  who  resented 
the  new  effort  as  an  intrusion  on  his  rights, 
and  the  work  was  unmistakably  damned  ; 
but  it  was  kept  on  the  stage  and  continually 
grew  in  favour  until  it  became  one  of  the 
most  poj)ular  comic  operas  ever  written. 
A  similar  result  attended  its  performance 
in  Paris.  It  was  coldly  received  by  the 
critics,  who  demanded  the  Barbiere  of  Pai- 
siello ;  but  when  the  latter  was  put  upon 
the  stage  at  the  Theatre  Italien  it  met  with 
dismal  failure  and  Rossini  triumphed. 

Original  Cast  in  Rome,  1816. 

Rosina  (A.) Signora  Giorgi  Righetti. 

Berta  (S.) Signorina  Rossi. 

Figaro  (Bar.) Signor  Luigi  Zamboni. 

Count  Almaviva  (T.) Signor  Garcia. 

Bartolo  (B.) Signor  Botticelli. 

Basilio  (Bar.) Signor  Vitarelli. 

Cast  in  Paeis,  1819. 

Rosina Mme  Ronzi  de  Begnis. 

Berta 

Figaro Signor  Pellegrini. 

Count  Almaviva Signor  Garcia. 

Bartolo Signor  Graziani. 

Basilio Signor  de  Begnis. 

The    opera   was    first   produced  in    New 


120 


BARBIE  RE 


York,  at   Niblo's   Garden,   Nov.   29,   182G, 
with  the  following  remarkable  cast : 

Rosiua Signorina  Garcia  (Malibran). 

Berta Signora  Garcia. 

Figaro Signor  Garcia,  Jr. 

Almaviva Siguor  Garcia,  Sen. 

Bartolo Siguor  Rosich. 

Basilio Signor  Angrisani. 

Fiorillo Signor  CrevelH. 

Siguor  jSIanuel  del  Popolo-Vicente  Gar- 
cia, the  father  of  Malibran  and  of  Viardot 
Garcia,  took  the  part  of  Almaviva,  it  will  be 
noted,  in  the  original  representations  of  the 
opera  in  Rome,  Paris,  and  New  York. 
Among  the  most  noted  of  the  Rosinas  of  the 
present  time  is  Mme  Adeliua  Patti  (born  at 

'   *         -'» 


Adelina   Patti. 

Madrid,  Feb.  19, 1843),  whose  marriage  (July 
29, 1868)  to  Henri,  Marquis  de  Caux,  Equerry 
to  Napoleon  IIL,  was  annulled  in  1885  and 
followed  by  a  second  union  with  Signor  Nieo- 
lini  (Ernest  Nicolas),  tenor  singer.  The 
scene  of  the  opera  is  laid  in  Seville,  Spain. 
Rosina,  ward  of  Dr.  Bartolo,  who  desires 
to  marry  her,  is  loved  by  Count  Almaviva, 
known  to  her  as  Count  Lindoro.  The 
Count  prevails  upon  Figaro,  the  factotum 
of  the  place,  to  secure  him  an  interview 
with  his  mistress,  who  lives  with  her  guar- 
dian, and,  in  spite  of  the  latter's  watchful- 
ness and  of  that  of  Don  Basilio,  her  music 
teacher,  who  is  in  league  with  Bartolo,  she 
sends  her  lover  a  letter  informing  him  that 
she  returns  his  passion,  and  he  secures,  with 


the  aid  of  Figai-o,  admission  to  the  house  in 
the  disguise  of  a  drunken  dragoon.     Foiled 
in  this  by  the  entrance  of  the  guard,  who 
aiTest  him,  he  gets  in  a  second  time  dis- 
guised as  a  music  teacher,  jsreteudiug  to 
have  been  sent  by  Don  Basilio,  who  is  ill. 
He  secures  Bartolo's  confidence  by  showing 
him  Rosina's  letter  to  himself,  promising  to 
persuade  her  that  the  letter  has  been  given 
him  by  a  mistress  of  the  Count,  and  to  thus 
break  off  the  connection  between  the  two. 
In  an  interview  with  Rosiua  an  elopement 
is  planned,  but  Don  Basilio  comes  in  and 
the  Count  is  obliged  to  make  his  escape. 
Dr.  Bartolo  arouses  his  ward's  jealousy  by 
means  of  the  letter,  whereupon  she  tells  of 
the  i^roposed  elopement  and   promises  to 
marry  him  ;  but  at  the  time  for  the  elope- 
ment the  Count  and  Figaro  appear,  a  rec- 
onciliation takes  place,  and  the  lovers  are 
married  by  a  notary  just  as  Bartolo  appears 
with  officers  to  arrest  the  Count.    The  over- 
ture of  H  Barbiere  di  Siviglia  is  taken  from 
Aureliano  in  Palmyra,  an  unsuccessful  op- 
era  by  Rossini,  written   in  1814.     It   had 
previously  served  as  the  overture  to  Ciro  in 
Babilonia  (1812)  and  later  (1815)  to  EHsa- 
betta,  regina  d'  Inghilterra.  In  the  first  per- 
formance,  in    the   scene   beneath   Rosina's 
balcony,  Garcia  introduced  a  Spanish  air, 
but  before  the  second  performance  Rossini 
wrote  for  it  the  beautiful  cavatiua,  "  Ecco 
ridente   in   cielo,"    borrowing   the    melody 
from    the    opening    chorus    in    Aureliano, 
"  Sposa  del  graude  Osiride."    In  the  second 
scene  Figaro  sings  the  famous  bufl'o  aria, 
"  Largo  al  factotum."    After  a  duet  between 
Almaviva  and  Figaro,  "  Oggi  arriva  un  reg- 
gimento,"  comes  the  piquant   cavatina   of 
Rosiua,  "Una  voce  poco  fa,"  so  often  heard 
in  concerts.     The  celebrated  Cakimny  aria, 
"La   calunnia  o  un  venticello,"  is  a  bass 
solo  sung  by  Basilio,  and  the  duet,  "E  il 
maestro  io  faecio,"  by  Figaro  and  Rosina. 
In  the  second  act,  the  music  lesson  of  Ro- 
sina  gives   the  singer  an  opportunity  for 
interpolation,  the  original  being  lost.     The 
aria,  "  Sempre  gridi,"  sung  by  the  duenna 


121 


BARBIE  RI 


Bertha,  is  taken  from  a  Russian  melody. 
It  is  called  iu  Italy  "Aria  di  Sorbetto," 
because  the  audience  used  to  eat  ices  while 
it  was  sung.  The  trio  "  Zitti,  zitti,"  is  ta- 
ken from  Haydn's  Seasons,  it  being  the 
air  sung  hj  Simon.  The  same  subject  has 
been  treated  musically  by  Louis  Beuda, 
Hamburg,  1782  ;  by  Elsj)erger,  Sulzbach, 
1783  ;  and  by  Schulz,  Eeinsberg,  1786.  Fig- 
aro, German  opera,  music  by  Tost,  was  rep- 
resented at  Presbiu'g,  1795  ;  Barbiere  di  Sivi- 
glia,  Italian  opera,  music  by  Nicolo  Isouard, 
Malta,  about  179G.  See  also  Nozze  di  Figaro. 
— Escudier,  Rossini,  sa  vie,  etc. ;  Castil-Blaze, 
Theatres  Lyriques  de  Paris  ;  Edwards,  Life 
of  R.,  127  ;"  Stendhal,  136  ;  Hauslick,  Mod- 
erne  Oper,  105  ;  Musical  Rev.,  ii.  66. 

BARBIERI,  CARLO  EMANUELE  DI, 
born  at  Genoa  in  1822,  died  at  Pesth,  Sept. 
29,  1867.  Dramatic  composer,  pujjil  of 
Mercadante  at  Naples.  He  conducted  the 
orchestra  in  several  Italian  opera  houses, 
then  in  1845  in  Vienna,  and  in  18-47  iu 
Berlin,  and  was  Kapellmeister  at  the  Stadt 
Theater  in  Hamburg  in  1851-53.  He  then 
went  with  an  Italian  opera  troupe  to  Rio 
Janeiro,  and  after  his  return  in  1856  lived 
iu  Vienna,  teaching  music  until  1862,  when 
he  became  Kapellmeister  at  the  National 
Theatre  in  Pesth.  Works — Operas  :  Cristo- 
foro  Colombo,  given  in  Berlin,  1848  ;  Nisida, 
la  Perla  di  Procida,  1851  ;  Carlo  und  Car- 
lin,  1859  ;  Perdita,  ein  Wiutermiirchen, 
Leipsic,  1865,  and  at  Cracow,  Prague,  Wei- 
mar, Magdeburg,  Kunigsberg,  Berlin,  etc. ; 
Masses  ;  Pianoforte  pieces  ;  German  and 
Italian  songs. — Mendel. 

BMtBIERI,  FRANCISCO  ASENJO, 
born  in  Madrid,  Aug.  3,  1823,  still  living, 
1888.  Dramatic  composer,  pupil  of  the  Con- 
servatorio  Maria  Christina,  Madrid,  under 
Pedro  Albenez  for  pianoforte,  Ramon  Broca 
for  clarinet,  Baltazar  Saldoni  for  singing,  and 
of  Carnicer  in  composition.  He  was  educated 
as  a  doctor  and  a  civil  engineer,  but  his  love 
of  music  led  him  to  adopt  it  as  a  profession. 
For  several  years  he  liad  a  hard  struggle,  but 
at  last  he  became  a  member  of  the  chorus 


at  the  Cirque  Theatre,  and  wrote  a  zar- 
zuela,  Felipa,  which  was  not  jslayed.  He 
joined  an  Italian  opera  company  as  a 
supernumerary'  and  travelled  through  North- 
ern Sjiain,  and  on  his  return  to  Madrid  in 
1847  his  career  as  a  composer  began,  and 
ever  since  he  has  been  one  of  the  best 
known  writers  in  Spain,  and  the  chief  pro- 
moter of  Spanish  national  opera  in  oppo- 
sition to  Italian  opera.  He  first  wrote  an 
Italian  opera,  II  buon  tempo,  but  he  soon 
joined  a  society  forming  at  Madrid  for  the 
production  of  zarzuelas,  or  Spanish  operas 
comiques,  of  which  he  became  secretary 
and  a  hard-working  member,  and  was  at 
the  same  time  musical  critic  on  the  "Ilustra- 
cion."  In  1850  he  produced  Gloria  y  Peluca, 
zarzuela  in  one  act,  which  obtained  a  won- 
derful success,  and  was  followed  by  several 
others,  and  in  1851  brought  out  Jugar  con 
fuego,  which  was  greeted  with  enthusiasm 
and  he  became  a  popular  favourite.  He 
brought  out  no  less  than  sixty  works  in  the 
next  twenty-five  years,  some  of  which  were 
written  in  collaboration  with  other  mem- 
bers of  the  Zarzuela  Society,  the  com- 
posers Hernando,  Oudrid,  Inzeuga,  Gaz- 
tambide,  and  the  dramatic  author  Don 
Luiz  Olona.  The  list  comprises  :  Tramoya, 
Escenas  de  Chamberi  (with  Oudrid,  Her- 
nando, and  Gaztambide),  1850  ;  La  Jacara, 
ballet,  La  Piscaresca  (with  Gaztambide), 
Jugiir  con  fuego,  Por  seguir  a  una  mujer 
(with  Oudrid,  Inzenga,  Gaztambide),  1851  ; 
La  hechicera,  El  Manzanares,  Gracias  a 
Dios  que  estil  puesta  la  mesa,  1852  ;  La  es- 
pada  de  Bernardo,  El  Marques  de  Caravaca, 
Don  Simplicio  Bobadilla  (with  Gaztambide, 
Hernando,  and  Inzenga),  Galanteos  en  Veni- 
cia,  1853  ;  Un  dia  de  reinado  (with  Gaz- 
tambide, Inzenga,  and  Oudrid),  Aventura 
de  un  cantante,  Los  Diamantes  de  la  Coro- 
na, 1854  ;  Mis  dos  mujeres,  Los  dos  ciegos, 
El  vizconde,  El  Sargento  Federico,  1855  ; 
Eutre  dos  aguas,  Gato  por  liebre.  La  Zar- 
zuela (with  Gaztambide  and  Arrieta  for  the 
inauguration  of  the  Zarzuela  Theatre),  1856  ; 
El  Diablo  en  el  poder,  1856 ;  El  relampago. 


122 


BARBIE  ROLLI 


1857  ;  Por  conquista,  Amar  sin  conocer,  Uu 
caballero  particular,  1858  ;  El  robo  de  las 
sabinas,  El  nifio,  Conipromisos  del  uo  ver, 
Eutre  mi  imijer  y  el  negro,  1859  ;  Un  Tesoro 
escondido,  18G1 ;  Los  herederos — el  secreto 
de  una  dania,  1862  ;  Dos  picboues  del  Tu- 
ria,  1863  ;  Pan  y  toros,  186-1  ;  Gibraltar  en 
1890,  El  rabano  portas  hojas,  Eevista  de 
un  muerto  juicio  del  aiio  1865  (with  Eogel), 
De  tejas  arriba,  El  pavo  de  Navidad,  1866  ; 
El  pan  de  la  boda,  1868  ;  El  soprano,  La 
maya,  1869  ;  Robinson,  1870  ;  Los  holga- 
zanes,  Don  Pacifico,  El  liombre  es  debil, 
1871  ;  El  tribute  de  las  cien  doncellas, 
Suefios  de  oro,  1872  ;  El  proceso  de  can- 
can, 1873  ;  Los  comediantes  de  antano.  La 
despedida,  lyrical  monologue,  El  domador 
de  fieras,  El  testamento  azul.  El  barberillo 
de  Lavapies,  1874  ;  La  vuelta  al  niundo 
(with  Rogel),  1875. — Fetis,  Supjjlument,  i. 
44  ;  Mendel,  Ergiinz.,  24  ;  Kiemaun,  Lex. 

BARBIEEOLLI,  LORENZO,  born  at 
Rovigo,  Italy,  in  1813,  still  living,  1888. 
Dramatic  composer,  known  by  the  opera, 
I  Trojani  in  Laurento,  given  at  Rovigo, 
1836,  Venice,  1837.— Fetia 

BARBIREAU  (Barbarian,  Barbingaut, 
Barbiryant,  Barbyrianus),  JACQUES,  bom 
perhaps  at  Mons,  Hainault,  died  at  Antwerp, 
Aug.  8,  1491.  Church  composer  and  cele- 
brated contrapuntist ;  he  is  mentioned  as 
choir-master  at  Notre  Dame,  Antwerj),  as 
early  as  1448,  was  considered  one  of  the 
highest  musical  authorities  of  his  time,  and 
the  master  of  many  famous  musicians  who 
lived  in  his,  and  at  the  beginning  of  the  16th 
century,  notably  Okeghem,  Jacotin,  Breden- 
iers,  Egide  Charlier,  and  Van  den  Wj'ngaert. 
Under  bis  direction  the  musical  service  at 
Notre  Dame  attained  to  a  very  high  standard. 
He  was  a  friend  of  Rudolf  Agricola,  with 
whom  he  maintained  a  literary  correspond- 
ence. In  thelmjierial  Library,  Vienna,  are  the 
manuscripts  of  the  following  :  Virgo  parens 
Chi-isti,  mass  for  five  voices  ;  Faulx  perverse, 
do.  for  four  voices ;  Kyrie  of  an  Easter  mass, 
for  do.;  Kyrie  and  Christe  of  another  mass. 
— Biog.  uat.  de  Belgique,  i.  712  ;  FetLs. 


BARCAROLLE,  L.\,  or  LAmour  et  la 
musique  (Love  and  Music),  French  opera- 
coniique  in  three  acts,  text  by  Scribe,  orig- 
inal plot,  music  by  Auber  ;  first  represented 
at  the  Opera  Comique,  Paris,  April  22,  1845. 

BARDES,  LES.     See  Ossian. 

BARGIEL,  WOLDEMAR,  born  in  Ber- 
lin, Oct.  3,  1828, 
still  living,  1888. 
His  father  was  a 
music  teacher  in 
Berlin,  his  mother 
the  divorced  wife 
of  Friedrich 
Wieck  ;  he  is  thus 
step-brother  t  o 
Clara  Schumann. 
He  studied  the 
pianoforte,  violin, 
and  organ  at  home,  and  counterpoint  un- 
der Dehn.  In  1846  he  went  to  Leijjsic, 
where  he  spent  two  years  at  the  Conser- 
vatory, of  which  Jlendelssohn  was  then 
du-ector.  In  1850  he  began  teaching  in 
Berlin,  and  gradually  established  his  repu- 
tation aa  a  composer  by  the  publication 
of  several  pianoforte  pieces,  orchestral  and 
chamber  works.  He  had  already  made 
some  mark  in  Leipsic  with  a  string-octet, 
which  was  played  at  one  of  the  public  ex- 
aminations at  the  Conservator^'.  In  1859 
he  got  a  professorship  at  the  Cologne  Con- 
servatory, and  in  1865  was  made  Kapell- 
meister and  director  of  the  music  school  at 
Rotterdam.  In  1874  he  became  professor  at 
Joachim's  Hochschule  fiir  Musik  in  Berlin. 
Bargiel  is  one  of  the  more  prominent  fol- 
lowers of  Schumann  ;  he  has  not  been  a  vo- 
luminous composer,  but  some  of  his  works 
entitle  him  to  a  high  position  in  modern 
German  music.  His  best  known  work  is  the 
overture  to  Medea,  which  holds  an  honour- 
able place  in  the  current  concert  repei'tory. 
Works :  Overture  Zur  einem  Trauerspiel, 
op.  18  ;  do.  to  Medea,  op.  22  ;  do.  to  Pro- 
metheus ;  do.  to  Romeo  und  Julie  (?  is 
possibly  op.  18)  ;  Synqihony  in  C  ;  Trois 
danses    brillantes,   for    orchestra,    op.    24  ; 


BAEKOUF 


Psalm  9G  for  double  eliorus,  op.  33  ;  Two 
psalms,  oj).  25  and  26  ;  Trio  for  piauoforte, 
violin,  and  violoncello,  op.  G  ;  do.,  op.  20  ; 
do.,  op.  37  ;  Suite  for  pianoforte  and  violin, 
op.  17  ;  Sonata  for  do.,  op.  10.  For  piano- 
forte :  Drei  Charakterstiicke,  ojd.  1  ;  do., 
op.  8 ;  Nachtstiicke,  op.  2  ;  Drei  Notturnos, 
op.  3  ;  Secbs  Bagatellen,  op.  4: ;  Phautasien, 
op.  5,  12,  19  ;  Suite  (4  hands),  op.  7  ;  Drei 
Phantasiestiicke,  op.  9  ;  Marscli  und  Fest- 
reigen,  op.  11 ;  Scherzo,  op.  13  ;  Suite,  op. 
21  ;  Sonata  (4  hands),  op.  23  ;  Phantasie- 
stiick,  oj).  27  ;  Acht  Pianofortestiicke,  op. 
32  ;  Drei  do.— Wochenblatt  (1871),  ii.  424. 

BARKOUF,  French  opt-ra-boufte  in  three 
acts,  text  by  Scribe  and  Boisseaux,  music 
by  Offenbach,  represented  at  the  Opera  Co- 
mique,  Paris,  Dec.  24,  1860.  The  subject 
is  derived  from  a  political  and  philosophi- 
cal tale  by  the  Abbe  Blanchet.  Barkouf  is 
a  bull-dog,  sent  by  the  Grand  Mogul  to 
govern  the  inhabitants  of  Lahore,  the  most 
turbulent  of  his  subjects.  The  people 
tremble  whenever  the  dog  barks,  but  a 
young  girl  named  Maima  tames  the  beast 
and  rules  Lahore  so  justly  and  successfully 
in  his  name  that  when  Barkouf  is  unfort- 
unately killed  all  mourn  his  loss. 

BAEMANN,  HEINRICH  (JOSEF),  born 
at  Potsdam,  Feb.  17,  1784,  died  in  Munich, 
June  11,  1847.  Celebrated  clarinetist,  pu- 
pil of  the  oboe  school  at  Potsdam  ;  in  1798 
he  entered  as  clarinetist  the  band  of  the 
roj'al  guard,  where  his  skill  procured  him 
the  patronage  of  Prince  Louis  Ferdinand 
of  Prussia,  who  emjsloyed  him  at  his  private 
concerts,  and  caused  him  to  be  instruct- 
ed by  the  royal  chamber-musician  Franz 
Tausch.  After  the  battle  of  Jena  he  was 
among  the  prisoners  of  war,  bat,  released 
after  the  Peace  of  Tilsit,  he  returned  to 
Berlin,  whence  he  proceeded  to  Munich, 
with  a  recommendation  from  the  Crown 
Prince  Ludwig  of  Bavaria,  and  after  the 
first  court  concert  was  at  once  appointed 
first  clarinetist  of  the  royal  orchestra.  In 
1808  he  began  a  sei'ies  of  concert  tours 
throughout  Eurojae,  which  constituted   as 


many  triumphs.  Karl  Maria  von  Weber,  on 
his  visit  to  Munich  in  1811,  wrote  for  him 
three  clarinet-concertos,  became  his  friend, 
and  travelled  with  him  in  the  same  year ; 
while  in  Vienna  during  the  Congress  of 
1813,  he  was  intimate  with  Meyerbeer,  who 
also  composed  for  him,  as  later  on  did 
Mendelssohn,  with  whom  he  formed  a  life- 
long friendship.  His  compositions  are  re- 
fined, brilliant,  and  thorough,  and  continue 
in  high  favour  with  clarinetists.  Among  the 
thirty-eight  works  published  are :  Concertos 
and  concertinos,  op.  24,  27,  28  (Leipsic, 
Breitkopf  &  Hiirtel) ;  Fantasias  and  sonatas 
with  orchestra,  op.  26,  31  (ib.)  ;  Quintets 
for  clarinet,  two  violins,  viola,  and  violon- 
cello, op.  19,  22,  23  (ib.) ;  Quartets  for  do., 
op.  18,  25  (ib.)  ;  Airs  varies  with  orchestra, 
op.  12,  20,  21,  29,  37  (ib.,  and  Leipsic,  Hof- 
meister  ;  Bonn,  Simrock  ;  Paris,  Gambaro) ; 
Divertissements,  oj).  34,  35,  38  ;  Duets, 
etudes,  and  solos.  His  son  and  pupil  Karl 
(born  in  Munich,  Oct.  24,  1811,  died  there. 
May  24,  1885),  also  stands  high  as  a  virtu- 
oso on  the  clarinet  and  basset-horn.  He 
accompanied  his  father  to  St.  Petersburg  in 
1832,  and  to  Paris  in  1839,  and  succeeded 
to  his  position  in  the  royal  orchestra  at  Mu- 
nich. His  compositions  number  more  than 
eiglity- seven,  besides  an  excellent  method 
for  his  instrument,  in  the  construction  of 
which  he  has  also  made  great  improvements. 
— Allgeni.  d.  Biogr.,  ii.  69;  Fetis ;  Mendel; 
Schilling ;  do.,  Supplement. 

BARNARD,  Mrs.  CHARLES,  born  in 
England  in  1834,  died  at  Dover,  Jan.  30, 
1869.  Song  writer,  published  many  popular 
ballads  under  the  pseudonym  of  "  Claribel." 
She  wrote  also  duets,  trios,  and  quartets, 
and  music  for  the  pianoforte.  Brown  ; 
Fetis,  Supplement,  i.  185. 

BARNBY,  JOSEPH,  born  in  York,  Eng- 
land, Aug.  12,  1838,  still  living,  1888. 
Organist,  jnipil  of  the  Royal  Academy  of 
Music  ;  chorister  in  York  Minster.  He  was 
for  nine  years  organist  at  St.  Andrew's, 
Wells  Street,  London  ;  was  conductor  of 
Barnby's  Choir,  of  the  Oratorio  Concerts, 


ia4 


BARNES 


Au- 


anil  of  the  Royal  Albert  Hall  Choral  Soci- 
ety. In  1875  be  was  appointed  succen- 
tor  and  director 
of  musical  in- 
struction at  Eton 
College.  Works : 
Rebekah,  orato- 
rio ;  tbe  Lord  is 
King,  for  soli, 
chorus,  and  or- 
chestra, Leeds 
Festival,  1883;  2 
Services  in  E  ;  Te 
Deum    in    B-flat ; 

Magnificat  and  Nunc  dimittis  in  D 
theius  ;  Songs  and  part  songs  ;  Organ  mu- 
sic ;  Hymns,  etc.  He  also  edited  a  Hymnary 
for  Novello,  to  which  be  contributed  many 
of  tbe  airs. 

BARNES,  FREDERICK  ED"\VIN,  born 
in  London  in  1858,  died  in  Montreal,  Can- 
ada, Sept.  21,  1880.  Organist,  pupil  of  Hel- 
more  in  the  Chapel  Royal  and,  from  1872,  of 
tbe  Royal  Academy  of  Music.  Organist  of 
All  Saints'  Church,  London,  1872,  of  St.  Mar- 
garet's, Liverpool,  1876,  of  tbe  Cathedral, 
Montreal,  in  1878-79,  and  in  1880  assistant 
organist  of  Trinity  Church,  New  York.  He 
was  also  conductor  of  the  Montreal  Philhar- 
monic Society.  "Works  :  An  opera,  text  by 
Mrs.  G.  L.  Craik  (SIS.) ;  Operetta,  produced 
at  the  "German  Reed  Entertainments;" 
The  23d  Psalm  for  soli,  chorus,  and  orches- 
tra ;  Organ  and  pianoforte  music  ;  Songs. 
BARNETT,  JOHN,  born  at  Bedford, 
England,  July  1,  1802, 
still  living,  1888.  Dra- 
matic composer.  His 
father  was  a  Prussian 
named  Bernhard  Beer, 
of  tbe  same  family  as 
Meyerbeer.  When 
eleven  John  was  articled 
to  S.  J.  Arnold,  propri- 
etor of  the  Lyceum,  for  five  years  as  a  singer 
in  return  for  musical  instruction,  received 
from  C.  E.  Horn,  and  later  from  Price,  chor- 
us-master of  Drury  Lane.     After  leaving  Ar- 


nold he  studied  the  pianoforte  under  Perez, 
organist  of  the  Spanish  Embassy,  and  under 
Ferdinand  Ries,  from  whom  be  received  his 
first  lessons  in  harmony.  In  1832  be  was  mu- 
sic director  of  the  Olympic  Theatre,  and  in 
August,  1834,  bis  best  work,  Tbe  Mountain 
Sylph,  was  given  at  the  Lyceum.  After  this 
Barnett  visited  Paris,  and  about  1837  went  to 
Frankfort  to  study  Yogler's  system  of  har- 
mony, and  composition  under  Snyder  von 
Wartensee  ;  while  there  he  wrote  a  symphony 
and  two  quartets  (unpublished).  In  1838,  on 
returning  to  London,  be  joined  Morris  Bar- 
nett in  an  unsuccessful  attemi^t  to  found  an 
English  opera  bouse.  In  18-11  he  settled  at 
Cheltenham  as  singing-master.  His  compo- 
sitions include  dramatic  pieces,  operas,  an 
oratorio,  Tbe  Omnipresence  of  the  Deity 
(1829),  never  performed  in  public,  and  more 
than  four  thousand  songs.  Works — Dramat- 
ic pieces  :  Before  Breakfast,  Lyceum,  1825  ; 
Monsieur  Mallet ;  Robert  the  Devil ;  Coun- 
try Quarters  ;  Two  Seconds  ;  Soldier's  Wid- 
ow ;  The  Picturesque  ;  Married  Lovers ;  The 
Deuce  is  in  her  ;  Charles  the  Twelfth  ;  Carni- 
val of  Naples,  Covent  Garden,  1830  ;  Pet  of 
tbe  Petticoats,  Sadler's  Wells,  1831 ;  Paphian 
Bower,  Olympic  Revels,  Court  of  Queen's 
Bench,  Blanche  of  Jersey  (written  for 
Olympic  Theatre)  ;  Win  her  and  Wear  her, 
Lyrical  Version  of  Mrs.  Centlivi-e's  "Bold 
Stroke  for  a  Wife,"  for  Drury  Lane.  Operas  : 
Fair  Rosamond,  Drury  Lane  ;  Farinelli,  ib., 
1838  ;  Kathleen,  with  a  libretto  by  Sher- 
idan Knowles,  and  two  other  operas  which 
have  never  been  performed.  Songs  :  Lyri- 
cal Illustrations  of  the  Modern  Poets  (1834:) ; 
Songs  of  tbe  Minstrels ;  Amusement  for 
Leisure  Hours. — Grove  ;  Fetis  ;  Mendel. 

BARNETT,  JOHN  FRANCIS,  born  in 
London,  Oct.  6,  1838,  still  living,  1888. 
Dramatic  composer  and  pianist,  nephew  of 
tbe  preceding,  son  of  Joseph  Alfred  Bar- 
nett, professor  of  music.  He  studied  the 
pianoforte  under  Dr.  Wylde  in  1849,  gained 
tbe  Queen's  Scholarship  at  tbe  Royal  Acad- 
emy of  Music  in  1850,  and  successfully  com- 
peted a  second  time  on  its  exj)iratiou  in 


125 


BARNI 


1852.  In  1857  he  visited  Germany,  where 
he  studied  under  Hauptmann  and  Eietz  at 
the  Leijjsic  Conserva- 
torium  ;  and  returned 
to  London  in  1860 ; 
Barnett's  first  notable 
work  was  a  symphony 
in  A  minor,  given  by 
the  Musical  Society  of 
London,  June  15, 1864  ; 
his  most  important,  an 
oratorio.  The  Raising  of 
Lazarus  (1873).  Other  works  :  Ouverture 
symphonique,  given  by  the  Philharmonic 
Society,  May  11, 1868  ;  Concerto  in  D  minor  ; 
two  cantatas.  The  Ancient  Mariner  and  Par- 
adise and  the  Peri  (written  for  the  Birming- 
ham Festival  in  1867  and  1870)  ;  Overture 
to  Shakespeare's  "  Winter's  Tale,"  British 
Orchestral  Society,  Feb.  6,  1873  ;  Orches- 
tral work  on  Scott's  "  Lay  of  the  Last  Min- 
strel," Liverpool  Festival,  Oct.  1,  1874: ;  Tau- 
tum  Ergo  in  eight  parts  ;  several  quartets 
and  quintets  for  string  instruments  ;  piano- 
forte trios  and  songs. — Grove. 

BARNI,  CAMILLO,  born  at  Como,  Italy, 
Jan.  18,  1762,  died  in  Paris  after  1811.  Vio- 
loncellist, pupil  oil  the  violoncello  of  his 
grandfather  David  Ronchetti,  and  of  Giu- 
seppe Gadgi,  afterwards  (1799)  in  composi- 
tion of  Minoja  at  Milan,  where  from  1788 
he  was  second,  and  from  1791  first  violon- 
ceUist  at  the  Teatro  della  Scala.  In  1802 
he  settled  in  Paris,  and  was  for  some  time 
first  violoncellist  at  the  Italian  Opera. 
Works :  Concerto  for  violoncello  (1803)  ;  2 
Italian  airs,  with  variations  for  violin  and 
violoncello  ;  6  duets  for  do. ;  6  trios  for  vio- 
lin, viola,  and  violoncello  ;  3  works  of  quar- 
tets for  strings ;  12  Italian  ariettas ;  6  French 
romances.  He  also  wrote  an  opera,  Edou- 
ard  ou  Le  frere  par  supercherie,  given  at 
the  Theatre  Feydeau,  1812,  which  did  not 
succeed. — Fi'tis  ;  Mendel. 

BARON,  ERNST  GOTTLIEB,  born  at 
Breslau,  Feb.  17,  1696,  died  in  Berlin,  Au- 
gust 26,  1760.  Famous  lute  player,  pupil 
of  the  Bohemian  lutist  Kohott.     He  visited 


several  German  courts,  meeting  everywhere 
with  brilliant  success,  and  settled  at  Jena, 
until  called  in  1728  as  chamber  musician  to 
Gotha,  whence  he  went  in  the  same  capacity 
to  Eisenach  in  1732.  Five  years  later  he 
went  to  Berlin,  to  join  the  orchestra  of 
Frederick  the  Great,  then  crown  prince.  His 
compositions,  consisting  of  concertos,  sona- 
tas, trios,  duets,  and  solos,  remain  unpublish- 
ed. He  wrote  also  several  treatises  on  his  in- 
strument, and  on  music  in  general.- — Allgem. 
d.  Biogr.,  ii.  82  ;  Fetis  ;  Mendel  ;  Schilling. 

BARRf:,  LEONARD,  born  at  Limoges, 
France,  early  in  the  16th  century.  Vocal 
composer,  pupil  of  Willaerts  in  Venice,  then 
went  to  Rome,  where  he  became  a  singer  in 
the  Pontifical  Chapel  in  1537.  He  was  one 
of  the  musical  delegates  sent  by  the  pope  to 
the  Council  of  Trent  in  1545.  Of  his  com- 
positions sevei'al  masses  and  motets  are  in 
manuscript  in  the  hbrary  of  the  Pontifical 
Chapel.  Other  motets  and  madrigals  are 
to  be  found  in  a  collection  published  in 
Venice  by  Gardane,  in  1544. — Fetis. 

BARRE,  MICHEL  DE  LA,  born  in  Paris 
about  1680,  died  there  in  1744.  Flutist, 
and  composer  for  his  instrument.     Works  : 

3  books  of  trios  for  flutes  ;  13  suites  of  duets 
for  do. ;  Sonatas  for  the  flute,  with  bass,  op. 

4  ;  Collections  of  drinking  songs  in  two 
parts  ;  Le  triomphe  des  arts,  ballet,  given 
at  the  Academic  Royals  de  Musique,  1700  ; 
La  Venitienne,  do.,  ib.,  1705. — ^Fetis. 

BARRETT,  JOHN,  born  about  1674,  died 
in  London  in  1735.  Organist,  pupil  of  Dr. 
Blow.  He  was  music  master  at  Christ's 
Hospital  and  organist  at  St.  Mary-at-Hill 
about  1710.  He  wrote  overtures  and  act 
tunes  for  Love's  Last  Shift ;  or,  the  Fool  in 
Fashion,  1696,  Tunbridge  Walks,  1703,  and 
Mary,  Queen  of  Scots  (1703).  His  songs 
are  to  be  found  in  D'Urfey's  "  Wit  and 
Mirth  ;  or.  Pills  to  Purge  Melancholy,"  and  in 
other  collections  of  the  day.  Gay  borrowed 
his  melody  of  lanthe  the  Lovely,  for  a  song 
in  the  Beggar's  Opera. — Grove  ;  Mendel. 

BARRY,  CHARLES  AINSLIE,  born  in 
London,  June  10,   1830,  still  living,  1888. 


BAESANTI 


Organist,  pupil  of  Thomas  Attwood  Walm- 
islej'  at  Cambridge,  then  at  the  Conserva- 
torium  iu  Cologne  of  Franz  Weber  on  tbe 
organ,  of  Eduard  Franck  on  tbe  pianoforte, 
and  of  Hiller  in  composition  ;  finally  at 
Leipsic  (1856-57)  of  Moscbeles,  Plaidy,  and 
Kicbter.  He  lived  for  a  time  at  Dresden, 
wbere  be  was  influenced  by  Reissiger,  and 
returned  to  London  in  1858.  Works  :  Sym- 
phony for  full  orchestra  ;  2  overtures  for 
do. ;  Marches  for  do.  ;  Quartet  for  strings  ; 
An  operetta  ;  Several  cantatas,  sacred  and 
secular  ;  Pianoforte  and  vocal  music. 

BARSANTI,  FRANCESCO,  born  at  Lucca 
about  1G90,  died  in  London  after  1750.  Vir- 
tuoso on  tbe  tlute  and  oboe,  went  with 
Geminiani  to  London  in  1714,  and  entered 
tbe  orchestra  of  the  Italian  opera,  first  as 
flutist,  then  as  oboist.  For  several  years  he 
then  held  a  lucrative  position  iu  Scotland, 
but  returned  to  London  iu  1750,  and  played 
the  viola  in  the  orchestras  of  the  Opera  iu 
winter  and  of  Vauxhall  in  summer.  Works  : 
6  solos  for  flute,  with  bass,  1st  book  ;  6  do., 
2d  book  ;  G  sonatas  for  two  violins  and 
bass  ;  12  concertos  for  violin  ;  G  anthems  in 
the  style  of  Palestriua  ;  Collection  of  old 
Scotch  melodies,  with  bass. — Fetis ;  Grove  ; 
Schilling. 

BARTA,  JOSEF,  born  in  Bohemia  about 
na,  died  in  Vienna  in  1803.  Dramatic 
composer,  at  first  organist  of  St.  Paul's 
Chui'ch  in  Prague,  then  settled  in  Vienna  in 
1778.  Works  :  Da  ist  nicht  gut  zu  rathen, 
operetta,  given  in  Vienna,  1780  ;  II  mercato 
di  Malmantile,  opera  buffa,  ib.,  1781  ;  Der 
adelige  Taglohuer,  operetta,  ib.,  1795  ;  Die 
donnernde  Legion,  do.  ;  G  quartets  for  two 
violins,  viola,  and  bass  ;  4  concertos  for  pi- 
anoforte ;  6  duets  for  two  sopranos  ;  Songs. 
— Fetis  ;  Schilling. 

BART  EI,  GIROLAMO,  born  at  Arezzo, 
Italy  ;  lived  earlj'  part  of  17th  century. 
General  of  the  Augustin  order  of  monks  at 
Rome.  According  to  Baini  (Memorie),  he 
published  some  masses  for  eight  voices,  a 
book  of  ricercari  for  two  voices,  and  two 
books  of  concerti  for  two  voices  and  organ 


(Rome,  1G18) ;  Fetis  adds  some  Responsaria 
for  four  equal  voices  (Venice,  1G07). — Fetis  ; 
Schilling. 

BARTH,  CHRISTIAN  SAMUEL,  born 
at  Glauchau,  Saxony,  iu  1735,  died  at  Co- 
penhagen, July  8,  1809.  Virtuoso  on  the 
oboe,  pupil  of  Bach  at  the  Thomasschule  in 
Leipsic  ;  was  chamber  musician  successively 
at  Rudolstadt  (1753),  Weimar  (17G2),  Han- 
over (17G8),  Cassel  (1772),  and  finally  at 
Copenhagen  (178G-98).  Works  :  5  concer- 
tos for  oboe  ;  Rondeau  suisse  for  do.,  with 
orchestra,  op.  10  (Leipsic,  Breitkopf  & 
Hilrtel) ;  Divertissement  for  oboe,  two  vio- 
lins, viola,  and  bass,  op.  8  (ib.)  ;  Pot-jjourri 
for  oboe  and  pianoforte,  op.  9  (Offenbach, 
Andre)  ;  Sonatas  for  pianoforte  and  oboe 
(Hanover,  Kruschwitz)  ;  Six  ecossaises  for 
pianoforte  (Coiienhagen,  Lose) ;  Grand  sj'm- 
phony  for  wind  instruments  (Oft'enbach,  An- 
dre) ;  Overture  for  orchestra,  op.  18  (ib,). 
His  son  and  pupil  Philipp  (born  at  Cassel 
in  1773)  succeeded  him  in  the  orchestra  at 
Cassel,  and  was  afterwards  called  to  Copen- 
hagen as  director  of  the  royal  band.  He 
composed  concertos  for  oboe,  a  concerto  for 
flute,  a  symphonie  concertante  for  two  horns, 
etc. — Fetis;  Mendel;  Schilling. 

BARTHE,  GRAT  NORBERT,  born  at 
Bayonne,  June  7,  1828,  still  living,  1888. 
Dramatic  comjjoser,  pupil  of  Leborne  at  the 
Conservatoire,  Paris  ;  won  the  grand  prix  in 
1854,  and  studied  for  three  years  in  Rome. 
Works :  Francesea  da  Rimini,  cantata  (grand 
prix,  1854)  ;  Judith,  oratorio  ;  Don  Carlos, 
opera;  La  Fianree  dAbydos,  do.,  given  at 
the  Theatre  Lyrique,  18G5. — Fetis,  Supple- 
ment, i.  50. 

BARTHEL,  JOHANN  CHRISTIAN, 
born  at  Plauen,  Saxony,  April  19,  177G,  died 
at  Altenburg,  June  10,  1831.  Organist  and 
pianist,  pupil  of  the  organist  Rosier  on  the 
pianoforte,  then  at  the  Thomasschule  in 
Leipsic  of  Johann  Adam  Hiller  and  of  Gor- 
ner.  When  not  quite  twelve  years  of  ago, 
he  played  one  of  Mozart's  most  difficult 
pianoforte  concertos  to  the  delight  of  the 
composer  ;  when  fourteen  he  became  organ- 


ic 


BARTllELEMON 


ist  at  the  free  school  in  Leipsic,  and  two 
years  later  concert  director  to  Prince  Schon- 
burg.  About  1796  he  returned  to  Leipsic, 
to  complete  his  studies,  and  in  1798  -was 
appointed  cantor  and  musical  director  at 
Greitz  ;  some  jears  after  he  made  a  suc- 
cessful concert  tour  as  organist  through 
Germany,  and  in  1804  became  court  organ- 
ist at  Altenburg.  Of  his  numerous  com- 
positions, consisting  of  cantatas,  motets,  one 
hundred  and  four  j)salms,  etc.,  only  some 
fantasias  for  the  organ  were  printed. — Fe- 
tis  ;  Gerber,  N.  Lex. ;  Schilling. 

BARTHELEMON,  FRANCOIS  HIP- 
POLITE,  born  at  Bordeaux,  July  27,  1741, 
died  in  London,  July  20,  1808.  Dramatic 
composer  and  violinist.  In  1765  he  settled 
in  England,  where  he  was  appointed  leader 
of  the  Opera  band  ;  and  in  1770  leader  at 
Vauxhall  Gardens.  His  professional  life 
was  passed  in  England,  with  the  exception 
of  a  tour  through  Germany,  Italy,  and 
France  in  1776-77,  and  a  visit  to  Dublin  in 
1784.  While  in  Florence  he  set  to  music 
the  oratorio  by  the  Abbate  Semplici,  Jefte  in 
Masfa.  Works — OjDeras  :  Pelopida,  given 
at  the  Kings  Theatre,  London,  1766  ;  Le 
fleuve  Scamandre,  given  in  Paris,  1768. 
Dramatic  pieces  :  Orpheus,  Judgment  of 
Paris,  1768  ;  Enchanted  Girdle  ;  Election, 
Maid  of  the  Oaks,  1774 ;  Belphegor,  1778. 
Preludes  for  the  organ  ;  Quartets  for  stringed 
instruments  ;  Concertos  and  duets  for  the 
violin  ;  Pianoforte  exercises ;  Awake,  my 
Soul,  hymn.— Fetis  ;  Grove. 

BARTHOLDY.  See  Mendelssohn  -  Ba,r- 
tholdy. 

BARTHOLOJIEW,  ANN  SHEPPARD 
MOUNSEY  born  (Mounsey),  in  London, 
April  17,  1811,  still  living,  1888.  Organist 
and  pianist,  pupil  of  J.  B.  Logier  from  1817  ; 
organist  at  Clapham,  1828  ;  at  St.  Michael's, 
Wood  Street,  1829 ;  and  at  St.  Vedast's, 
Foster  Lane,  from  1837.  She  became 
an  associate  of  the  Philharmonic  Soci- 
ety and  a  member  of  the  Royal  Society  of 
Musicians  in  1839.  In  18.59  she  was  mar- 
ried   to   William    Bartholomew    (born    in 


London,  1793,  died  there,  1867),  violinist 
and  writer,  well  known  as  the  adapter  of 
the  English  librettos 
of  Mendelssohn's  op- 
eras and  oratorios, 
Mehul's  Joseph, 
Spohr's  Jessonda,etc. 
Mrs.  Bartholomew 
has  been  a  noted 
teacher  of  the  piano- 
forte and  organ,  and 
of  harmony,  and  a 
prolific  com  poser. 
Works :  The  Nativity,  oratorio,  text  by 
William  Bartholomew,  produced  in  Lon- 
don, 1855  ;  Sanctus,  Kyries,  and  Chants, 
1853  ;  Supplication  and  Thanksgiving,  sa- 
cred cantata,  1864  ;  The  Young  Vocalist, 
1867  ;  Holy  Thoughts,  1875  ;  34  Orig- 
inal Tunes  (London,  1883) ;  6  four-part 
songs,  op.  37  ;  3  four-part  songs,  1870  ; 
Many  songs,  and  organ  and  pianoforte 
music. 

BARTLETT,  HOMER  NEWTON,  born, 
of  American  parentage,  in  Olive,  New  York, 
Dec.  28,  1845,  still  hving,  1888.  Pianist 
and  organist ;  played  on  the  violin  at  the 
age  of  five,  and  appeared  in  concerts  when 
nine  years  old.  At  sixteen  he  began  a 
regular  course  of  musical  instruction  ex- 
tending over  seven  years,  studied  the 
pianoforte  under  S.  B.  Mills  and  others, 
and  harmony  and  counterpoint  under  Max 
Brauu,  Jacobsen,  and  others.  He  has  occu- 
pied the  position  of  organist  in  several 
churches  in  New  Yoi'k  and  vicinity,  and  is 
at  present  organist  of  the  Madison  Avenue 
Baptist  Church,  New  York.  Works  :  80 
published  compositions,  of  which  about  50 
are  for  the  pianoforte ;  the  others  are  songs, 
quartets,  anthems,  and  glees  for  men's  and 
women's  voices,  and  a  sextet  for  strings 
and  flute.  Among  his  unpublished  works 
are  :  La  Valliure,  opera  in  three  acts,  text 
by  J.  Berry,  1885-86  ;  Ignis  Fatuus,  ca- 
price for  orchestra,  1884  ;  2  marches  for 
orchestra,  1885  ;  Quartet  for  harp,  organ, 
violin,    and    violoncello,    1888 ;    The    Last 


128 


BARTNAXSKY 


Chieftain,  cantata,   1888  ;  Samuel,  oratorio, 
text  by  J.  B.  Bartlett,  1888. 

BAKTNANSKY  (Bortniausky),  DIMI- 
TRI  STEPHANOVICH,  born  at  Gloukoff 
(Ukraine)  in  1752,  died  iu  St.  Petersburg, 
Sept.  28  (Oct.  9),  1825.  Church  composer, 
pupil  of  Galupj)i,  first  at  St.  Petersburg,  then 
at  Venice ;  called  the  Russian  Palestrina. 
A  singer  iu  the  choir  of  the  luijDerial  Chajjel, 
he  was  patronized  by  the  Empress  Eliza- 
beth, and  also  by  Catherine  11.,  who  sent 
him  to  Italy  in  1768  to  continue  his  studies. 
After  leaving  Galuppi,  he  studied  at  Bo- 
logna, Eome,  and  Naples,  and  on  his  return 
to  Russia  in  1779  became  director  of  the 
Imperial  Chapel,  which  he  thoroughly  re- 
formed. He  reduced  Russian  church  mu- 
sic to  a  system,  and  composed  forty-five 
psalms  iu  four  and  five  parts  which  were 
considered  very  fine  and  were  sung  iu  his 
choir,  thenceforth  known  as  the  Im^jerial 
Chapel  Choir.  He  composed  a  Greek  mass 
for  three  voices,  ten  concertos  for  double 
choir,  forty-five  psalms  for  four  and  eight 
voices,  and  other  church  music.  An  ojDera, 
Fabio  Quinto,  was  given  at  Modena  in  1778. 
— Fetis  ;  Grove  ;  Mendel ;  Schilling. 

BASEVI,  ABRAMO,  born  iu  Leghorn, 
December,  1818,  died  in  Florence,  Decem- 
ber, 1885.  Theoretical  and  critical  writer 
and  founder  and  proprietor  of  the  two  mu- 
sical journals  "Annonia"  and  "Boccherini." 
Works  :  Romilda  ed  Ezzelino,  oj^era,  rejjre- 
sented  at  the  Teatro  Alticri,  Florence,  Aug. 
11,  1840;  Enrico  Odoardo,  opera.  La  Per- 
gola, ib.,  1847. 

BASILI  (Basily),  DOMENICO  ANDREA, 
maestro  di  caiDj)ella  at  Loreto,  middle  of 
18th  century,  died  in  1775.  Church  com- 
poser, author  of  motets  for  three,  four,  and 
five  voices,  iu  the  Abbate  Santini's  collec- 
tion, together  with  a  Salve  Regiua  in  two 
double  canons,  two  Christus  factus  est  for 
four  voices,  a  Miserere  for  eight  and  an- 
other for  twelve  voices.  Fetis  jiossessed 
eight  masses  for  four  voices,  and  two  for 
eight  voices  in  manuscript.  He  wrote  a 
great  deal  of  other  church  music,  aud  for  the 


use  of  his  pupils  published  a  collection  of 
twenty-four  studies  for  the  harpsichord,  un- 
der the  title,  Musica  universale  armonico- 
pratica  (Venice,  Alessandri). — Fetis. 

BASILI,  FRANCESCO,  born  at  Loreto 
iu  February,  1766,  died  in  Eome,  March  25, 
1850.  Dramatic  composer,  son  of  Domen- 
ico  Andrea  Basili,  and  pupil  of  Jauuaconi, 
of  the  Roman  school  after  1775.  While 
very  young  he  became  maestro  di  cappella 
at  Foligno,  and  wrote  there  his  first  work, 
a  cantata,  Ariana  e  Teseo.  At  the  age  of 
twenty-two  he  gave  in  Milan  his  first  opera. 
La  bella  incognita,  1788,  which  was  soon 
followed  by  La  locaudiera,  a  farce  jjlayed 
at  Rome  about  1789.  Ten  years  later  be 
left  Foligno  for  a  similar  post  at  Macerata, 
where  soon  after  he  contracted  a  rich  mar- 
riage, enabling  him  to  give  up  music  as  a 
l^rofession,  but  the  union  resulting  iu  a  sejj- 
aration  in  1810,  he  accepted  the  position  as 
maestro  di  cappella  at  Loreto,  and  again 
began  comjjosing  for  the  theatre.  He  was 
called  to  Milau  in  1818,  brought  out  there 
two  new  operas,  and  iu  1824,  at  the  Teatro 
S.  Carlo  iu  Naj^les,  his  dramatic  oratorio,  II 
Sansone,  iu  which  the  principal  parts  were 
written  for  Lablache  and  Nozzari ;  he  also 
wrote  a  Requiem  mass  for  the  death  of 
Jannaconi,  performed  at  the  Church  of  the 
Twelve  Apostles  in  Rome  (181G).  He  was 
appointed  censor  of  the  Imperial  Conserva- 
torio  at  Milan  in  1827,  and  after  occujsyiug 
that  i^osition  for  ten  years  was  called  to 
Rome  to  succeed  Fioravanti  as  maestro  di 
cajjpella  of  St.  Peters,  which  post  he  held 
until  his  death.  He  composed  an  immense 
amount  of  church  music  ;  Fetis  gives  an 
exhaustive  list  of  his  published  works,  and 
of  those  left  in  MS.  at  his  death  ;  they  con- 
sist of  Ave  Marias,  kyries,  offertories,  masses, 
graduals,  motets,  introits,  vespers,  psalms, 
hymns,  litanies,  etc.  His  operas  are  : 
Achille  neir  assedio  di  Troja,  given  at 
Florence,  Teatro  de  la  Pergola,  1798;  11 
ritorno  d'  Ulysso,  ib.  1799  ;  Antigoua, 
Venice,  about  1800 ;  Conviene  adattarsi, 
opera    buffa,    ib.,    Teatro   S.    Mose,    about 


129 


BASILIUS 


1800  ;  L'  Unione  mal  pensata,  farce,  ib., 
Teatro  S.  Benedetto,  1800  ;  Lo  stravagante 
ed  il  dissipatore,  Venice,  1802  ;  L'  ira  d' 
Acbille,  L'  orfana  egiziana,  ib.,  1817  ; 
Isaura  e  Eicciardo,  Rome,  about  1817  ;  Gli 
Illinesi,  Milan,  1818  ;  II  Califtb  e  la  scbi- 
ava,  Milan,  Teatro  della  Scala,  1818.— Fetis  ; 
Grove  ;  Mendel  ;  Schilling. 

BASILIUS,  German  opera  seria,  music  by 
Keiser,  represented  at  Wolfenbiittel,  1G93. 
The  hero  is  Basilius  I.,  Emperor  of  the  East 
(a.d.  867-88G),  who,  the  son  of  a  small 
farmer  in  Thrace,  raised  himself  to  the  im- 
perial dignity  and  became  one  of  the  most 
famous  of  the  Byzantine  rulers.  The  same 
subject  is  treated  in  Basilio,  Ee  d'  Orients, 
Italian  opera,  music  by  Navara,  Venice, 
1G96  ;  and  music  by  PorjJora,  Naples, 
1709. 

BASSANI,  GIOVANNI  BATTISTA,  born 
at  Padua  about  1C57,  died  at  Ferrara  in 
1716.  Dramatic  composer  and  violinist. 
He  conducted  for  several  years  the  cathe- 
dral music  at  Bologna  and  from  1G85  held 
the  same  position  at  Ferrara.  He  was  a 
member  of  the  Accademia  della  Morte,  Fer- 
rara, and  of  the  Accademia  dei  Filarmonici, 
Bologna,  of  which  he  was  prineipe  in  1682. 
Corelli  is  believed  to  have  been  one  of  his 
pupils.  Fetis  gives  a  complete  list  of  works 
published  by  Bassani  from  1G80  to  1710, 
which  includes  six  operas,  thirtj'-one  masses, 
besides  cantatas,  motets,  and  psalms,  for  one, 
two,  or  three  voices  with  instruments,  and 
sonatas  for  violins  and  violoncello.  Works 
—Operas:  Falaride,  tiranno  d'  Agrigente, 
given  at  Venice,  1G84  ;  Amorosa  preda  di 
Paride,  Bologna,  1684  ;  Alarico,  E6  de'  Goti, 
Ferrara,  IGOO  ;  II  Conte  di  Baeheville,  Pis- 
toja,  1G96  ;  La  morte  delusa,  Ferrara,  169G. 
The  Imperial  Library,  Paris,  and  the  Eoyal 
Library,  Berlin,  own  several  of  liis  MSS. 
Kent  has  taken  the  chorus,  "Thy  righteous- 
ness," in  his  anthem,  "Lord,  what  love," 
from  his  Magnificat  in  G  minor,  and  the 
Hallelujahs  in,  "Hearken  unto  this,"  from 
his  Alma  Mater. — Fi'tis  ;  Gerber,  N.  Lex.  ; 
Wasielew.ski,  Die  Violine,  etc.,  36. 


BASSFORD,  WILLIAM  KIPP,  born  in 
New  York,  N.  Y.,  April  23, 1839,  still  living, 
1888.  Pianist  and  organist,  pupil  in  har- 
mony and  composition  of  Samuel  Jackson, 
an  organist  in  New  York.  After  travelling 
extensively  in  the  United  States  witli  a  con- 
cert troupe  as  pianist,  he  settled  in  New 
York,  where  he  has  since  devoted  himself  to 
pianoforte  teaching  and  composition.  He 
has  also  been  organist  of  several  churches 
in  New  York,  among  them,  of  the  Madison 
Square  Presbyterian  Church,  and  he  is  at 
present  organist  of  Calvary  Church,  East 
Orange,  N.  J.  Works  :  Cassilda,  opera  in 
two  acts ;  Devotion,  Young  Maiden  and 
Flowers,  Meditation,  Morning  Song,  Tran- 
quility, and  other  pianoforte  pieces ;  Mass 
in  E-flat,  and  other  sacred  music  ;  "Never- 
more," "  She  flung  the  roses  iu  the  air," 
"Sigh,  thou  Wind,"  "  Thou  lov'st  no  more," 
and  other  songs.  Mr.  Bassford  was  also  en- 
gaged by  Mme  Wallace  to  complete  the  op- 
era of  Estrella,  left  unfiuished  by  William 
Vincent  Wallace. 

BASSIEON,  PHILIPPE,  lived  in  the 
Netherlands  in  the  15th  century.  He  was 
a  contemporary  of  Josquin  Depres.  Some 
of  his  masses  are  preserved  by  Ottaviano 
Petrucci  of  Fossombrone  in  his  collection 
entitled,  Missse  diversorum  auctorum  (Ven- 
ice, 1508).  In  the  fourth  book  of  Motetti 
published  at  Venice  by  Petrucci  is  an  In- 
violata  by  Bassiron. — Grove  ;  Fetis ;  Men- 
del. 

BASTIAANS,  JOHAN  GERARDSZOON, 
born  at  Twello,  Holland,  in  1812,  died  at 
Haarlem,  Feb.  16,  1875.  Organist,  pupil  of 
Friedrich  Schneider  at  Dessau,  of  Mendels- 
sohn at  Leipsic,  and  of  Johann  Schneider  in 
Dresden.  After  his  return  he  settled  at 
Amsterdam,  and  in  1839  became  organist  of 
the  Zuiderkerk.  In  1868  he  was  appointed 
to  the  same  jjosition  at  St.  Bavon's  Church 
in  Haarlem.  Works  :  Cantata  for  mixed 
chorus  ;  Motet  for  do. ;  6  jjieces  for  organ  ; 
Songs  without  words,  for  pianoforte  ;  So- 
nata ;  Choral  Book.  He  was  the  author  of 
two  theoretical  works. — Viotta. 


180 


BASTIEN 


BASTDEN  UND   BASTIENNE,  German 

operetta  iu  one  act,  text  by  Anton  Scliacbt- 
ner,  music  by  Mozart,  iserformed  in  a  Gar- 
den-bouse belonging-  to  his  friends  tbe  Miss- 
mers,  Vienna,  17GS.  Mozart  was  then  only 
twelve  years  old.  Tbe  libretto  is  an  adaj^- 
tatiou  of  Weiskern's  translation  of  a  Frencb 
parody,  by  JIadanie  Favart,  of  Rousseau's 
Devin  du  Village.  The  cliaracters  rejjre- 
seuted  are  :  Bastien  (tenor),  Bastienne  (so- 
prano), and  the  Soothsayer  Colas  (bass). 
— Wurzbaeh,  Mozart  Buch,  73. 

BASTON,  JOSQUm,  born  iu  Flanders, 
first  half  of  the  16th  century,  died  after 
l.'JGe.  Composer  of  motets,  madrigals, 
etc.  His  works  form  j^art  of  collections 
published  at  Antwerp  (15i2-58),  Augsburo- 
(1515),  and  Louvain  (1554-Gl). — Biog.  uat. 
de  Belgique,  i.  770  ;  Fetis. 

BA-TA-CLAN,  French  operetta  in  one 
act,  text  by  Ludovic  Halevy,  music  by  Of- 
fenbach, first  represented  at  the  Bouffea 
Parisieus,  Pariss,  Dec.  29,  1855.  This  piece 
of  nonsense,  with  a  Chinese  plot,  had  a  con- 
siderable success. 

BATES,  WILLIAM,  English  composer  of 
the  18th  century.  He  wrote  the  music  of 
The  Jovial  Crew,  comic  opera,  17G0  ;  Phar- 
naees,  opera,  1765  ;  The  Ladies'  Frolic 
(jointly  with  Dr.  Arue),  an  alteration  of  The 
Jovial  Crew,  1770  ;  The  Theatrical  Candi- 
dates, musical  prelude,  1775  ;  and  Flora,  or 
Hob  in  the  Well,  1768.  He  was  the  com- 
poser also  of  glees,  catches,  and  canons. 
— Grove. 

BATESON,  THOMAS,  born  in  England 
about  1575,  time  of  decease  unknown.  Or- 
ganist of  Chester  Cathedral  from  1599  to 
1611,  soon  after  which  be  settled  in  Ireland, 
and  became  organist  to  Christ  Church  Ca- 
thedral, Dublin  He  received  the  degree  of 
Mus.  Bac.  from  Dublin  University.  Works  : 
A  set  of  madrigals  in  praise  of  Queen  Eliza- 
beth (1601)  :  First  Set  of  Madrigals  (1604) ; 
Second  Set  of  Madrigals,  with  the  following 
inscription  on  the  title-page  :  "  Bachelor  of 
Mu.sick,  Organist,  and  I\Iaster  of  the  Chil- 
dren of  the  Cathedral  Church  of  the  Blessed 


Trinity,  Dublin  (1618)."  The  Musical  An- 
tiquarian Society  has  reprinted  his  First 
Set  of  Madrigals,  and  some  of  his  church 
music  is  contained  in  the  Society's  "An- 
thems by  composers  of  the  Madrigalian 
Era." — Grove. 

BATISTE,  ANTOLNE  EDOU.ABD,  born 
in  Pari.s,  March  28,  1820,  died  there,  Nov. 
9,  1876.  Organist,  son  of  Antoiue  fidouard 
Batiste,  the  well-known  singer  of  the  Opera 
Comique  ;  pupil  at  the  Conservatoire  iu 
1828,  studied  solfege  under  Leborne  and 
Bieuaime,  harmony  and  accomiJauiment 
under  Lecouppey  and  Dourleu,  composition 
under  Halevy,  and  the  organ  with  Benoist. 
He  took  2d  prize  for  solfege  in  1832,  1st 
prize  in  1833  ;  2d  prize  for  harmony  and 
accompaniment  in  1836,  1st  prize  in  1837  ; 
2d  prize  for  counterpoint  and  fugue,  and  2d 
prize  for  organ,  in  1838  ;  1st  prize  for  all 
three  in  1839  ;  and  2d  grand  prix  de  Eome 
in  181:0.  He  was  professor  in  the  Conser- 
vatoire from  1836,  organist  of  Saint  Nicolas- 
des-Champs  in  1812-54,  and  organist  of 
Saint  Eustache  in  1854.  His  organ  music 
consists  of  oflertoii-es,  sonatas,  fugues,  fanta- 
sias, voluntaries,  etc.,  and  he  also  wrote  songs 
and  pianoforte  nmsic.  His  edition  of  the 
twelve  volumes  of  Solfeges  du  Conservatoire, 
annotated  by  him  with  accompaniment  for 
piano,  or  for  organ  with  figured  bass,  and 
a  Solfege  harmonique,  was  highly  eulogized 
by  the  Conservatoire. — Fetis,  Supplement, 
i.  52  ;  Mendel,  Ergilnz.,  26. 

BATISTIN.     See  Slruci: 

BATTA,  ALEXANDRE,  born  at  Maes- 
tricht,  July  9,  1816,  still  living,  1888.  Vio- 
loncellist, pupil  of  Platel  at  the  Conserva- 
toire, Brussels,  where  he  won  the  first  jsrize 
in  1834.  He  went  to  Paris,  whence  he  made 
successful  concert  tours  through  the  greater 
part  of  Eui'ope.  He  has  published  many 
fantasias,  romances,  variations,  etc.,  for  vio- 
loncello. His  youngest  brother,  Joseph 
(born  at  Maestricht,  April  24,  1820),  pupil 
at  the  Conservatoire,  Brussels,  where  he 
won  the  grand  prize  for  composition  iu 
1845,  has  been  violinist  in  the  orchestra  of 


BATTANCHON 


the  Opera  Conuqxie,  Paris,  since  1846,  and 
has  conijjosed  cantatas,  overtures,  sympho- 
nies, etc. — Fetis. 

BATTANCHON,  F^LIX,  born  in  Paris, 
April  9,  181-4,  still  living,  1888.  Violoncel- 
list, 2>npil  of  Vasliu  and  Norblin  at  the  Con- 
servatoire, and  since  1840  member  of  the 
orchestra  of  the  Opera.  Works  :  Trois 
etudes  en  double  corde,  op.  1  (Paris,  Ei- 
chault)  ;  Airs  bretons,  for  violoncello  and  jsi- 
auoforte  (ib.)  ;  Deux  melodies,  for  do.,  op. 
3  (Leipsic,  Hofmeister)  ;  24  etudes  pour 
violoncelle,  op.  4. — Fetis. 

BATTEN,  ADRIAN,  born  at  Winches- 
ter (?),  England,  about  1585,  died  in  Lou- 
don (?)  about  1640.  Church  composer, 
brought  up  in  the  cathedral  choir  of  Win- 
chester under  John  Holmes,  was  appointed 
vicai--choral  of  Westminster  Abbey  in  1G14, 
and  removed  in  the  same  capacity  to  St. 
Paul's  Cathedral  in  1624,  where  he  held  also 
the  position  of  organist.  _  He  wrote  several 
anthems  which  ai'e  still  sung,  and  a  Morn- 
ing, Communion,  and  Evening  service  in  the 
Dorian  mode.  Several  of  his  compositions 
are  printed  in  Barnard's  and  Boyce's  collec- 
tions.— Burnej"  ;  Grove. 

BATTI,  BATTI,  O  BEL  ]\L^SETTO.  See 
Don  Giovanni. 

BATTLSHILL,  JONATHAN,  bom  in 
London,  May,  1738, 
died  at  Islington, 
Dec.  10,  1801.  Or- 
ganist, chorister  in 
1747  of  St.  Paul's 
Cathedral  u  n  d  e  r 
W  i  1 1  i  a  m  Savage, 
and  later  his  arti- 
cled puisil.  After 
officiating  as  harp- 
sichord player  at 
Covent  Garden  Theatre,  he  became,  about 
1771,  organist  of  the  united  parishes  of  St. 
Clement,  Eastcheap,  and  St.  Martin,  Orgar, 
and  a  little  later  of  Christ  Church,  Newgate 
Street.  He  w-rote  glees,  catches,  songs,  and 
(in  conjunction  with  Michael  Arne)  the 
score  to  the  opera  of  Almena,  given  in  Lon- 


don, 1764  ;  the  music  to  a  pantomime,  The 
Rites  of  Hecate,  1764 ;  and  much  church 
music.  Two  of  his  glees  won  prizes  from 
the  Catch  Club,  Underneath  this  Myrtle 
Shade,  1770,  and.  Come,  bind  my  hair,  1771. 
Published  works  :  3  collections  of  songs  ;  4 
anthems  in  Page's  Harmonia  Sacra ;  6  an- 
thems and  ten  chants  (Page,  1804)  ;  Glees 
and  catches  in  Warren's  collection  ;  12  psalm 
tunes  and  an  ode  in  Page's  collection  of 
hvmus. — Grove  ;  Fetis. 
"  BATTISTA,  VINCENZO,  born  at  Naples, 
Oct.  5,  1818  (1823  ?),  died  there,  Nov.  14, 
1873.  Dramatic  composer,  pupil  of  the 
Royal  College  of  Music  at  Naples.  His  first 
opera,  Anna  La  Prie,  was  played  at  the  San 
Carlo  in  1843  ;  Margherita  d'.lragona,  ib., 
1844 ;  Rosvina  de  le  Forest,  Milan,  Teatro 
delta  Scala,  1845  ;  Emo,  Naples,  1846 ; 
Irene,  ib.,  about  1847  ;  Eleonora  Dori,  ib., 
1847  ;  II  corsaro  della  Guadalupa,  ib.,  Tea- 
tro Nuovo,  1853 ;  Ermelinda,  ib.,  Alba 
d'  Ora,  ib.,  1869.  He  also  wrote  music  to 
a  part  of  Dante's  Inferno,  called  II  Bivacco. 
—Fetis. 

BATTLE  OF  PRAGUE,  a  piece  of  mili- 
tary music,  by  Kotzwara,  a  native  of  Prague, 
descriptive  of  the  battle  fought  near  that 
city.  May  6,  1757,  in  which  Frederick  the 
Great  defeated  the  Austrians.  It  was  writ- 
ten for  the  pianoforte,  with  violin  and  vio- 
loncello accompaniment,  and  was  published 
at  Berlin  and  Hamburg  about  1792  and  in 
Loudon  in  1793.  The  j)iece  was  very  suc- 
cessful and  was  the  precursor  of  much  other 
music  of  a  similar  kind. — Fetis;  Grove. 

B.\TTLE  SYMPHONY.  See  Wdlington'.^ 
Sieg. 

BATTMANN,  JACQUES  LOUIS,  born  at 
Maasmiinster,  Alsace,  Aug.  25, 1818,  died  at 
Dijon,  July  7, 1886.  Organist,  first  at  Belfort 
(1840),  then  at  Vesoul ;  pupil  at  Colmar  of 
Theodor  Sehlosser  in  harmony  and  composi- 
tion, and  of  Martin  Vogt  on  the  organ.  He 
has  i^ublished  about  400  works,  consisting  of 
masses,  motets,  choruses  ;  many  pieces  for 
the  harmonium  ;  studies  for  the  organ  and 
pianoforte  ;  duos  and  trios  for  violins ;  ro- 


138 


BATTON 


mauces,  chansonettes,  and  man_y  dances  for 
pianoforte,  etc. — Fetis,  Supplement,  i.  55. 

BATTON,  DftSIRE  ALEXANDRE,  born 
in  Paris,  Jan.  2,  1797,  died  at  Versailles,  Oct. 
IG,  1855.  Dramatic  composer,  pupil  of  the 
Conservatoire  from  1806  ;  studied  counter- 
point under  Cherubini.  He  gained  the  2d 
grand  jjrixde  I'lnstitutin  1816,  and  the  1st  in 
1817,  for  his  cantata,  La  Mort  d'Adouis,  ac- 
quiring the  right  to  travel  for  five  years  in 
Italy  and  Germany.  While  in  Rome  he  com- 
posed an  oratorio,  and  several  pieces  of  sa- 
cred and  instrumental  music  ;  at  Munich  he 
brought  out  a  symphony  and  other  works, 
and  returned  to  Paris  in  1823.  Having  ob- 
tained little  success  with  several  operas,  he 
was  on  the  point  of  giving  uj)  his  musical 
career,  when  the  opera,  La  Marquise  deBrin- 
villiers,  written  in  1832,  in  collaboration  with 
Auber,  Herold,  Carafa,  and  others,  again 
brought  him  into  public  favour,  as  the  finale 
written  by  him  was  very  fine.  He  was  made 
Inspecteur  des  Suecursales  at  the  Con- 
servatoire in  1842,  and  director  of  a  vocal 
class  in  1847.  Works  :  La  fenetre  secrete, 
comic  opera,  given  in  Paris,  Theatre  Fey- 
deau,  1818 ;  Ethelvina,  ib.,  Op^ra  Comique, 
1827  ;  Le  prisonnier  d'etat,  Theatre  Fey- 
deau,  1828  ;  Le  champ  du  drap  d'or  (with  Ri- 
faut  and  Leborne),  ib.,  1828  ;  Le  remi)la<;ant. 
Opera  Comique,  1837. — Fetis  ;  Mendel. 

BATTU,  PANTALEON,  born  in  Paris  in 
1799,  died  there,  Jan.  17,  1870.  Violinist,  pu- 
pil of  Rudolph  Kreutzer  at  the  Conservatoire, 
where  he  obtained  the  first  prize  in  1822. 
From  the  start  he  was  successful  as  a  solo 
player  in  the  Concerts  spirituels,  and  in  the 
concerts  of  the  Conservatoire,  which  he 
helped  to  establish.  He  was  at  the  same 
time  a  member  of  the  orchestra  of  the 
Opei'a,  and  until  1830  also  of  the  Eoj'al 
Chapel ;  in  1846  he  became  second  chef 
d'orchestre  at  the  Opera,  and  retired  into 
private  life  in  1859.  Works  :  2  concertos  for 
violin,  op.  1,  3  (Paris)  ;  3  duos  concertants 
for  two  violins,  op.  2  (ib.)  ;  Theme  varie  for 
violin,  with  orchestra  ;  Romances,  with  pi- 
anoforte.— Fetis  ;  Mendel. 


BAUDIOT,  CHARLES  NICOLAS,  born 

at  Nancy,  March  29,  1773,  died  in  Paris, 
Sept.  26,  1849.  Violoncellist,  pupil  of  Jan- 
son  the  elder,  whom  he  succeeded  as  pro- 
fessor at  the  Conservatoire,  Paris,  in  1802, 
and  whence  he  retired  in  1822,  having  been 
appointed  also  first  violoncello  of  the  royal 
orchestra  in  1816.  Works  :  2  concertos  for 
violoncello ;  2  concertinos  for  do.,  op.  19 
and  20 ;  Trio  for  violin,  viola,  and  violon- 
cello, op.  3  ;  Duets  for  violoncello,  op.  5  and 
7  ;  Pot-pourri  for  do.,  with  quartet ;  3  fan- 
taisies  for  do.,  with  pianoforte,  op.  12;  3  do., 
op.  20  ;  3  nocturnes  for  violoncello  and 
harp ;  2  works  of  sonatas  for  violoncello, 
with  bass  ;  Trios  for  pianoforte,  violoncello, 
and  horn,  and  for  pianoforte,  harjs,  and  vio- 
loncello ;  Themes  varies  for  violoncello  and 
pianoforte  ;  3  duets  for  do.  on  themes  of 
Rossini  and  Auber,  op.  31  ;  Many  pieces  ar- 
ranged after  Lafont  and  de  Beriot,  for  violon- 
cello ;  Methode  complete  de  violoncelle,  op. 
25  ;  Instruction  pour  les  compositeurs. — 
Fetis  ;  Riemann. 

BAUDOIN.     See  Bauldewijn. 

BAIXDEWIJN  (Baudoin,  Baulduin, 
Balduin),  NOEL  (Natalis),  born  in  the  sec- 
ond half  of  the  15th  century,  died  at  Ant- 
werp in  1529.  Maitre  de  musique  of  Notre 
Dame  at  Antwerp  in  1513-18.  It  is  possi- 
ble that  he  visited  Italy,  as  some  of  his 
motets  were  printed  by  Petrucci  de  Fossom- 
brone  in  the  collection,  Motetti  della  corona, 
in  1519.  His  masses  in  MS.  are  in  the 
Pontifical  Chapel  in  Rome,  and  the  Royal  Li- 
brary at  Munich.  Other  motets  are  to  be 
found  in  collections  published  at  Augsburg 
(1540),  Antwerp  (1545),  and  Nuremberg 
(1546). — Biog.  nat.  de  Belgique,  i.  663 ; 
Fetis  ;  Mendel,  Ergiinz.,  26. 

BAUMBACH,  ADOLPH,  born  in  Ger- 
many about  1830,  died  in  Chicago,  1880. 
He  removed  to  America,  and  in  1855  was 
settled  in  Boston.  He  was  a  teacher  of  the 
pianoforte  and  the  organ,  and  many  of  his 
compositions  were  for  instruction  on  the 
pianoforte  ;  he  also  compiled  a  collection 
for  the  use  of  quartet  choirs. 


133 


BAUMBACII 


BAUMBACH,    FRIEDRICH    AUGUST, 

bom  iu  1753,  died  at  Leii^sie,  Nov.  30, 
1813.  Couductor  of  the  theatre  orchestra 
at  Hamburg  in  1778  ;  retired  to  Leipsic  iu 
1789  to  devote  himself  to  composition. 
Works  :  0  sonatas  for  pianoforte,  op.  1 
(Gotha,  1790);  6  duets  for  violins  (Speyer, 
1791)  ;  Trios  ;  Concertos  ;  Variations  for 
pianoforte,  with  violin  or  violoncello  obli- 
gato  ;  Kondos  for  jjianoforte  ;  Variations  for 
2  violins  ;  Etudes  for  guitar ;  Songs  and 
duets. — Fetis  ;  Mendel. 

BAUMFELDER,  FRIEDRICH  AUGUST 
WILHELM,  born  iu  Dresden,  May  28,  1836, 
still  living,  1888.  Instrumental  composer, 
pupil  of  Johauu  Schneider,  and  at  the  Cou- 
servatorium  at  Leipsic ;  is  a  favourite  teacher 
of  the  pianoforte  at  Dresden,  and  has  com- 
posed symphonies,  overtures,  concertos  for 
pianoforte,  and  other  works  of  a  high  stan- 
dard, besides  a  great  deal  of  light  piano- 
forte music. — Mendel. 

BAUMGARTEN,  GOTTHILF  VON, 
born  iu  Berlin,  Jan.  12,  1741,  died  at  Gross- 
Strehlitz,  Silesia,  Oct.  1,  1813.  Dramatic 
comj)oser,  studied  music  iu  his  native  citv*, 
served  iu  the  army  in  17G1-79,  and  was  ap- 
pointed to  a  government  position  in  Silesia 
iu  1780.  Works  :  Zemire  und  Azor,  given 
at  Breslau,  1775  ;  Andromeda,  monodrama, 
ib.,  177C  ;  Das  Grab  des  Mufti,  ib.,  1778.— 
Fetis  ;  MendeL 

BAUMGARTEN,  KABL  FRIEDRICH, 
born  in  Germany  in  1754,  died  iu  London 
in  1824.  Organist,  violinist,  and  di\imatic 
composer,  pupil  of  the  famous  organist  J. 
P.  Kunzeu  ;  went  early  to  London,  where 
he  was  organist  of  the  Lutheran  chapel  in 
the  Savoy,  conductor  of  the  opera  at  Coveut 
Garden  in  1780-94,  and  leader  of  the  Duke 
of  Cumberland's  private  band.  Among  his 
operas  and  pantomimes  the  best  known  are  : 
Robin  Hood,  given  at  Covent  Gai'deu,  1786  ; 
Blue  Beard,  ib.,  1792.— Grove. 

BAL^IGARTNER,  AUGUST,  born  in 
Munich,  Nov.  9,  1814,  died  there,  Sept.  29, 
1862.  Church  composer,  jnipil  of  the  or- 
ganist Kalcher  and  of  Holz  on  the  jjiano- 


forte,  then  of  Ettin  theorj-,  1841-42  ;  became 
choirmaster  at  St.  Ann's,  Munich,  iu  1853. 
Works  :  Instrumental  Mass  ;  Requiem  ;  Ves- 
per Psalms  ;  Secular  choruses  with  and  with- 
out orchestra,  songs,  and  pianoforte  jsieces. 
■ — Mendel. 

BAUMGARTNER,  JOHANN  BAPTIST, 
born  at  Augsburg,  1723,  died  at  EichstiUlt, 
May  18,  1782.  Violoncellist,  studied  at 
Augsburg  and  Munich,  and  as  one  of  the 
best  performers  on  his  instrument  made 
extensive  concert  tours  through  Germany, 
England,  Holland,  Scandiuavia,  etc.,  and 
settled  at  Amsterdam  in  1774.  Called  to 
Stockholm  in  1778,  he  was  soon  obliged  to 
give  up  a  lucrative  position  on  account  of 
the  climate,  and  became  chamber  musician 
to  the  Prince  Bishop  of  Eichstiidt  in  1781. 
He  composed  concertos,  variations,  and  solos 
for  violoncello,  also  published  a  valuable 
method  for  his  instrument  (Hague,  1777). 
An  o)iera,  Perseus  and  Andromeda,  by  a 
composer  of  this  name,  was  given  in  Ger- 
many iu  1780. — Mendel. 

BAUR,  CHARLES  ALEXIS,  born  at 
Tours  in  1789,  died  (?).  Pianist  and  harp- 
ist, first  instructed  by  his  jjareuts,  then  iu 
Paris  i^upil  of  Nadermaun  ;  went  to  Loudon 
in  1820  and  taught  the  harp.  Works  :  3 
sonatas  for  harp,  op.  1  ;  do.,  op.  2  ;  Collec- 
tion of  arias  for  do.  ;  Duets  foi-  harp  and 
pianoforte,  ojj.  3  ;  do.  for  harp  and  flute  ; 
Quartets  for  harp,  pianoforte,  violin,  and 
bass.  — Fetis  ;  Mendel. 

BAVAGNOLI,  MANLIO,  Italian  com- 
poser, contemporary.  He  is  the  composer 
of  Roderico  di  Spagna,  opera  seria,  repre- 
sented at  the  Teatro  Reale,  Parma,  April  20, 
1878. 

BAVAEDS,  LES  (The  Gossips),  French 
opera-bouffe  iu  two  acts,  text  by  Nuitter, 
after  Cervantes,  music  by  Offenbach,  repre- 
sented at  the  Bouffes  Parisiens,  Paris,  Feb. 
20,  1863. 

BAVERINI,  FRANCESCO,  Italian  con- 
trapuntist of  the  15th  century.  His  drama  or 
mystery.  La  Conversione  di  San  Paolo,  was 
represented  in  Rome  in   1440  (1480?),  by 


134 


BAYADERES 


order  of  Cardinal  Kiario.  This  work,  one 
of  the  first  religious  dramas  ever  put  upon 
the  stage,  is  now  lost.— Futis  ;  Mendel. 

BAYADERES,  LES,  French  opera  in 
three  acts,  text  by  Jouy,  music  by  Catel, 
first  represented  at  the  Opera,  Aug.  7,  1810. 
The  Bayaderes  are  dancing  girls  attached 
to  the  Hindoo  temples.  The  libretto  is 
founded  on  Goethe's  ballad,  "Der  Gott  und 
die  Bajadere,"  which  also  gives  the  title  to 
Auber's  Le  Dieu  et  la  Bayadere.  Les  Baya- 
deres, -which  achieved  a  great  success,  was 
reduced  to  two  acts,  Aug.  31,  1821. 

BAYARD  A  LA  FERTE,  French  opera 
comique  in  three  acts,  text  by  Desaugiers 
and  de  Geutil,  music  by  Plantade,  first  rep- 
resented at  the  Theatre  Feydeau,  Paris,  Oct. 
3,  1811.  The  scene  is  laid  at  the  Chateau 
de  la  Ferte,  and  the  action  turns  on  the  love 
of  Bayard  for  Mme  de  Randan,  who  is  also 
loved  by  the  king.  The  opera  was  finally 
reduced  to  two  acts. 

BAYARD  A  MEZT^RES,  French  opera- 
comique  in  one  act,  text  by  Dupaty  and 
Chazet,  music  by  Boieldieu,  Catel,  Isouard, 
and  Cherubini,  first  represented  at  the  Ope- 
ra Comique,  Paris,  Feb.  12,  1814.  Subject, 
Bayard  at  the  siege  of  Mezieres.  The  Chev- 
alier is  the  hero  also  in  Bayard  dans  Bresse, 
French  opera  in  two  acts,  text  by  Piis,  mu- 
sic by  Stanislas  Champein,  given  at  the  The- 
atre italien,  Paris,  Feb.  21,  1791. 

BAYER,  ANTON,  born  in  Bohemia  in 
1785.  Dramatic  comjOTser  and  flutist,  pupil 
in  Prague  of  Josef  Rosier,  Alibot  Vogler, 
and  Karl  Maria  von  \Velier ;  in  1802-5 
he  conducted  the  orchestra  of  the  Czech 
and  German  popular  opera,  for  which  he 
also  composed  many  pieces.  To  escape 
military  service,  he  travelled  as  a  pianist 
and  flutist  through  Germany,  France,  and 
Italy,  but  returning  to  Prague  at  the  time 
of  the  Congress  at  Vienna,  he  became  first 
flutist  at  the  theatre  and  professor  at  the 
Conservatorium.  In  1823  he  obtained  a 
position  as  administrator  on  the  estate  of 
Reichenbach.  He  was  the  first  teacher  of 
Henriette  Sonntag.     Among  his  comic  op- 


JO- 


erettas  the  most  popular  were  :  Der 
Tausendsassa,  BiJhmische  Aniazonen,  Frau 
Ahndl,  Der  indianische  Gaukler  in  Kriih- 
winkel,  Naturalische  Zauberei,  etc.  His 
numerous  instrumental  compositions,  con- 
sisting pirincii^ally  of  dances,  variations,  etc  , 
for  violin,  flute,  pianoforte,  and  guitar,  were 
very  popular. — Fetis  ;  Mendel;  Schilling, 
Supplement. 

BAY  OF  BISCAY,  THE,  song  by  John 
Davij,  written  in  the  early  part  of  this  cen- 
tury. It  is  one  of  the  most  popular  songs 
of  its  kind  ever  composed. 

BAZIN,  FRANgOIS  (EMANUEL 
SEPH),  born  at  Mar- 
seilles, France,  Sept. 
4,  181G,  died  in  Paris, 
Sept.  2,  1878.  Dra- 
matic composer,  pupil 
at  the  Conservatoire, 
Paris,  of  Dourleu  and 
Lecouppey  in  harmo- 
ny, of  Benoist  on  the 
organ,  and  of  Hak'vy 
and  Berton  in  compo- 
sition. He  won  the  first  jn'ize  in  183(5,  1837, 
1839,  and  1840,  and  the  second  in  1837  and 
1839.  His  cantata,  Louise  de  Montfort,  hav- 
ing been  performed  at  the  Academy  in  1840, 
he  went  for  three  years  to  Rome,  where  he 
composed  a  solemn  mass,  performed  at  the 
Church  of  S.  Luigi  de'  Frances!,  1842  and 
1843,  the  oratorio,  La  Pentecote,  and  the 
psalm,  Suj)er  flumina  Babylonis,  which  were 
executed  several  times  in  1843  by  the  So- 
cieta  Filarmonica  of  Rome.  On  his  return 
to  Paris  he  was  made  professor  at  the  Con- 
servatoire, and  in  1872  member  of  the  Acad- 
emy. Officer  L.  of  Honour,  1869.  Works — 
Operas:  Le  trompette  de  M.  le  Prince,  given 
at  the  Opera  Comique,  1846  ;  Le  malheur 
d'etre  joli,  ib.,  1847  ;  La  nuit  de  la  Saint 
Sylvestre,  ib.,  1849  ;  Madelon,  ib.,  1852  ; 
Maitre  Pathelin,  ib.,  1856  ;  Les  desesperes, 
ib.,  1858  ;  Le  voyage  en  Chine,  ib.,  1867  ; 
Marianne,  opera-comique  in  one  act,  text 
by  Augustin  Challamel,  published  in  the 
Magazin  des  Demoiselles  (1861) ;  L'Oura  et 


ISB 


BAZZANI 


le  Pacha,  text  by  Scribe  and  Saintiue,  Ope- 
ra Comique,  1870.  He  also  published  a 
Cours  d'harmonie  theorique  et  pratique, 
for  the  use  of  the  classes  iu  the  Conserva- 
toire.— Fetis  ;  do..  Supplement,  i.  58. 

BAZZANI.     See  Bazzino. 

BAZZINI,  ANTONIO,  born  at  Brescia, 
Lombardy,  March  10,  1818,  still  living, 
1888.  Viohnist  and  composer,  pupil  of 
Faustino  Camisani.  At  the  age  of  seven- 
teen he  was  maestro  di  cappella  of  the 
Church  of  S.  Filij)po,  Brescia,  had  written 
masses  and  vespers  for  that  church,  and 
brought  out  sis  oratorios  for  full  orchestra. 
Pagauini  heard  him  play  the  violin  in  1836, 
and  advised  him  to  travel,  and  from  1840 
he  played  in  all  the  i^rincipal  cities  of  Italy, 
France,  Germany,  and  Belgium  as  a  virtu- 
oso and  composer.  In  18.52  he  went  to 
Paris,  where  Pougin  was  iu  the  orchestra 
at  the  Gymnase  Theatre  where  his  concerts 
were  given,  and  he  recognized  in  him  one 
of  the  most  finished  violinists  he  had  ever 
heard.  In  186-1  he  returned  to  Brescia,  and 
in  1873  was  made  professor  of  couuterjioint 
and  composition  at  the  Conservatorio,  Mil- 
an. Works  :  Tvu-audot,  opera,  given  at  La 
Scala,  Milan,  in  184:4,  which  was  not  suc- 
cessful. His  psalms,  among  which  is  the 
Resurrection,  were  considered  his  best 
works,  and  next  to  these  his  symphonies 
and  cantatas.  He  wrote  overtures  to  Alfie- 
ri's  "Saul"and  Shakespeare's  "  Kinglunax." 
His  compositions  for  violin  are  numerous :  Le 
Carillon  d'Arras,  air  flamand  vario,  op.  36  ; 
Trois  morceaux  h'riques :  Nocturne,  Scher- 
zo, Berceuse,  op.  41;  Trois  morceaux  so- 
natas :  Allegro,  Romance,  Finale,  op.  44, 
are  the  best. — Fetis;  do..  Supplement,  i. 
58  ;  Larousse  ;  Riemann,  Lex. ;  Wasielewski, 
Die  Violine,  312. 

BAZZINO,  FRANCESCO  MARIA,  born 
at  Lovero,  Venetia,  iu  1593,  died  at  Berga- 
mo, April  15,  1660.  Celebrated  theorbist, 
pupil  of  Giovanni  Cavaccio  at  Bergamo, 
where  he  became  organist  at  Sta.  INIaria 
Maggiore  ;  having  entered  the  service  of  the 
Duke  of  Modeua,  he  went  thence  to  Vienna, 


but  returned  to  Modena,  and  in  1636  to 
Bergamo.  Works :  La  representazione  di 
S.  Orsola,  oratorio  ;  Sonata  and  other  pieces 
for  the  theorbo  ;  Canzonettas.  His  elder 
brother,  Natale  (born  at  Lovero,  died  in 
Venice,  1693),  was  an  organist  ;  he  com- 
posed masses,  motets,  psalms,  and  arias  of 
merit. — Fetis  ;  Mendel. 

BAZZONI,  GIOVANNI  LUIGI,  born  in 
Milan  in  1816,  died  in  Paris,  September,  1871. 
Dramatic  composer,  studied  in  his  native 
city,  settled  iu  Paris  after  1836,  and  became 
chef  de  chant  at  the  Theatre  Italien  in  1852. 
A  few  years  after  1858  he  went  to  Italy,  but 
returned  to  Paris,  where  he  died  in  want. 
Works :  I  tre  mariti,  farce,  Teatro  della 
Canobbiana,  Milan,  1836 ;  Salvator  Rosa, 
opera,  ib.,  1837  ;  Le  quart  d'heure  de  Rabe- 
lais, operetta,  Paris,  Folies  Nouvelles,  about 
1858  ;  II  rinnegato  fiorentiuo,  opera,  Turin, 
Teatro  Regio,  after  1858.  Vocal  melodies, 
and  morceaux  de  genre  for  pianoforte. — 
Fetis,  Supplement,  i.  59. 

BEALE,  WILLIAM,  born  at  Landrake, 
England,  Jan.  1,  1784,  died  in  London, 
May  3,  1854.  Vocal  composer,  principally 
of  glees  and  madrigals  ;  chorister  of  West- 
minster Abbey  under  Dr.  Arnold  and  Rob- 
ert Cooke.  He  was  awarded  the  prize  cuj) 
given  by  the  Madrigal  Society  in  1813,  for 
his  "Awake,  sweet  Muse," and  a  j^rize  from 
the  Adelphi  Glee  Club  in  1840.  In  1820 
he  published  a  collection  of  his  glees  and 
madrigals,  and  about  1879  a  selection  from 
his  MSS.,  consisting  of  thirteen  glees,  etc., 
was  published. — Grove. 

BEATRICE  ET  BENEDICT,  French 
opera  in  two  acts,  text  and  music  by  Hec- 
tor Berlioz,  represented  at  the  theatre  of 
Baden-Baden,  Aug.  9,  1862.  Subject  from 
Shakespeare's  "  Much  Ado  about  Nothing." 

BEATRICE  DI  TENDA,  Italian  opera, 
text  by  Felice  Romani,  music  by  Bellini, 
first  represented  in  Venice,  March  16, 1833  ; 
at  the  King's  Theatre,  London,  March  22, 
1836  ;  at  the  Theatre  des  Italiens,  Paris, 
Feb.  8,  1841  ;  and  at  Palmo's  Opera  House, 
New  York,  March  18,  1844.     Subject :  Fi- 


136 


BEAU 


lippo  di  Visconti,  Duke  of  Milau,  suspect- 
ing his  wife,  Beatrice  di  Tenda,  of  infidel- 
ity, sends  her  to  punishment  by  torture 
together  with  her  pretended  accomplice 
Orombello.  Originally  sung  by  Pasta,  Curi- 
oui,  and  Cartagenova,  this  opera  was  coldly 
received  both  at  Venice  and  Florence.  Al- 
though it  contains  many  interesting  num- 
bers, it  did  not  succeed  much  better  in 
Paris,  where,  however,  it   was  reproduced 


iinta    Frezzolin'. 


in  1854  with  Frezzolini  in  the  title-role, 
aided  by  Graziaui.  Mine  Frezzolini,  who 
retained  her  maiden  name  on  the  stage,  not- 
withstanding her  marriage  with  the  tenor 
Poggi,  made  her  debut  as  Beatrice  in  1838 
in  Florence.  The  same  subject  had  been 
previously  treated  in  Philippus,  Herzon- 
von  Mailand,  text  by  Hinscb,  music  by 
Mattheson  and  Bronner,  Hamburg,  1701, 
which  was  given  also  as  Beatrix  in  1702  ; 
and  later  in  Beatrice,  music  by  Josef  Wolf- 
ram, Dresden,  1837  ;  and  in  Beatrice,  music 
by  Guimarais,  Italy,  1882. 

'  BEAU  DUNOIS,  LE,  operette  in  one  act, 
text  by  Chivot  and  Duru,  music  by  Charles 
Lecocq,  represented  at  the  Theatre  des  Va- 
rietfts,  Paris,  April  13,  1870. 

BEAUJOYEULX,     BALTHASAR    DE. 
See  BaJlazarini. 

BEAULIEU,    MARIE    DESIRE   (MAR- 
TIN), called,  born  in  Paris,  April  11,  1791, 


died  there  in  December,  1863.  Church 
composer,  pupil  of  Alliaume,  Kreutzer,  Be- 
nincori,  and  Mehul.  He  won  the  2d  grand 
prix  at  the  Institut  de  France  iu  1800,  and 
the  1st  in  1810  ;  but  he  did  not  avail  him- 
self of  its  privileges,  continuing  his  studies 
under  Mchul,  and  settling  soon  afterwards 
at  Niort ;  he  sent  a  Miserere  to  the  Institut 
in  1812,  a  Laudate  and  a  cantata,  Sapho, 
iu  1813,  a  Dornine  Salvum  in  1814.  He 
was  the  founder  of  quartet  meetings  at 
Niort,  and  in  182'J  of  a  Philharmonic  Soci- 
ety, afterwards  known  as  the  Association 
Musicale  de  I'Ouest  (1835),  one  of  the  most 
successful  societies  of  the  kind  in  France. 
In  18G6  he  instituted  a  vocal  society  iu 
Paris,  called  La  Societe  de  Chant  Classique, 
and  at  his  death  endowed  both  of  these  so- 
cieties with  the  fortune  amassed  at  his  con- 
certs, and  by  his  works.  He  wrote  also 
several  works  on  music.  His  most  im- 
portant compositions  are :  Miserere  for 
four  voices,  soli  and  chorus  (1812)  ;  Sapho, 
IjTic  scene  for  solo  and  chorus,  Laudate  Do- 
minum  for  two  choruses  (1813) ;  Domine  sal- 
vum for  five  voices,  soli  and  choruses  (1817) ; 
Jeanne  dArc,  cantata  (1817)  ;  Requiem  Mass 
for  four  voices,  soli  and  chorus  (1819)  ;  An- 
acreon,  opera  (about  1819)  ;  Sixieme  Ode 
sacree  de  J.  B.  Eousseau,  for  soli  and  cho- 
rus (1828)  ;  Quinzieme  Ode  sacree  de  do., 
for  single  voice  ;  Fantaisie  for  violin,  solo 
and  chorus  ;  Psyche  et  lAmour,  scenes,  soli 
and  chorus  (1833)  ;  Fete  bachique,  scene, 
tenor  solo  and  chorus  (1835) ;  Hymne  pour 
la  premiere  communion  (1840)  ;  L'Ocean, 
morceau  d'ensemble  (1841)  ;  L'Hymne  du 
matin,  oratorio  (1843)  ;  Messe  solennelle  for 
four  voices,  soli  and  chorus  (1845)  ;  Llm- 
mortalite  de  I'ame,  oratorio,  L'Hymne  de  la 
nuit,  do.  (1851)  ;  Jeanne  d'Ai-c,  grande 
scene  lyrique  iu  two  parts  (1853)  ;  Mass  for 
three  voices  and  organ  (18.53) ;  Philadelphie, 
opera  (1855). — Fetis  ;  do.,  Supplement,  i. 
59  ;  Mendel ;  Riemann. 

BEAUjMESNIL,  HENEIETTE  ADE- 
LAIDE VILLARD  DE,  born  in  Paris,  Aug. 
31,    1758,  died   there  in   1813.      Dramatic 


137 


BEAUTE 


singer  and  composer,  shone  as  one  of  the 
great  stars  of  the  Opera  in  17G6-74,  retired 
in  1781,  and  soon  after  married  the  actor 
Philippe  of  the  Comedie  ItaUeune.  Works : 
Les  Saturnales  (act  of  a  ballet),  Academie 
Eoyale  de  Musique,  1784: ;  Tibulle  et  Delie, 
ojjera,  ib.,  1784  ;  Anacreou  ;  Les  legisla- 
trices  ;  Plaire,  c'est  commander,  comic  op- 
era. Theatre  Montansier,  1792. — Fetis;  do., 
Supi^lemont,  i.  61 ;  Mendel. 

BEAUTE  DIVINE,  ENCHANTERESSE. 
See  Huguenots. 

BEAUVARLET  CHAEPENTIEE,  JEAN 
JACQUES,  born  in  Abbeville  in  1730,  died 
in  Paris,  May,  1794.  Organist  at  Lyons, 
and  later  (1771)  of  the  Abbey  Chmxh  of  St. 
Victor,  Paris.  In  1772  he  succeeded  Da- 
quin  at  St.  Paul's,  Paris,  and  was  also  one 
of  the  four  organists  at  Notre  Dame.  The 
Revolution  deprived  him  of  these  positions, 
and  he  died  of  a  broken  heart.  After  the 
death  of  Armand  Louis  Couperin  he  was 
considered  the  greatest  of  French  organists. 
Works  :  Piuces  d'orgue  (Paris) ;  Sonates  de 
clavecin,  op.  2  et  8  ;  Fugues  pour  orgue, 
op.  6  ;  Trois  magnificats  pour  orgue,  ojo.  7  ; 
Journal  d'orgue,  in  twelve  numbers  with 
some  of  his  hymns,  four  for  the  Circumci- 
sion, the  Ej)iphanj-,  the  Purification,  and  the 
Annunciation,  and  four  processional  cho- 
ruses.— Futis ;  Larousse  ;  Schilling  ;  Mendel. 

BEAUVARLET-CHARPENTIER, 
JACQUES  MAEIE,  born  in  Lyons,  July  3, 
1766,  died  in  Paris  in  November,  18.34.  Or- 
ganist and  composer  ;  son  and  pujjil  of  Jean 
Jacques  Beauvarlet-Charpentier,  whom  he 
succeeded  as  organist  at  the  Church  of  St. 
Paul,  Paris,  when  the  churches  were  re- 
opened after  the  Revolution.  He  was  also 
organist  of  St.  Germain-des-Pres  towards 
the  latter  part  of  his  life.  Works  :  Victoire 
de  I'armee  d'ltalie,  ou  Bataille  de  Monte- 
notte,  for  organ  or  harpsichord  (Paris,  1796) ; 
Airs  varies  a  quatre  mains  pour  clavecin 
(1799) ;  La  bataille  d'Austerhtz  (1805)  ;  La 
bataille  d'lena  (1807)  ;  Gervais,  ou  le  Jeune 
aveugle,  opera,  given  in  Paris,  Theatre  des 
Jeunes  Artistes,  1802  ;  and  a  collection  of 


romances  entitled,  Le  troubadour,  with  ac- 
companiment (Paris,  1816).  He  also  pub- 
lished :  Methode  d'orgue  suivi  de  I'olfice 
complet  de  dimanches  et  d'un  Te  Deum. — 
Fetis ;  do.,  Sujiplement,  i.  61  ;  Mendel  ; 
Schilling. 

BECHER,  ALFRED  JULIUS,  born  in 
Manchester,  England,  in  1803,  died  in 
Vienna,  Nov.  23,  1848.  He  was  of  German 
parentage,  and  his  life  was  spent  at  Elber- 
feld,  Cologne,  Diisseldorf,  The  Hague,  and 
Loudon  until  1841,  when  he  settled  in  Vi- 
enna, and  became  musical  critic  of  the 
Wiener  Musik-Zeitung  and  the  Sonutags- 
bliitter.  In  1848  he  became  a  violent  demo- 
crat, and  was  tried  by  court-martial  and 
shot  in  the  Stadtgraben,  Vienna.  Works  : 
8  poems  for  one  voice  and  pianoforte,  op.  1 
(Leipsic)  ;  8  lyrical  pieces  for  pianoforte,  op. 
2  (Cologne)  ;  3  sonatas  for  pianoforte,  op.  7 
(Hegel) ;  monologue  for  pianoforte,  oj).  9 
(Vienna) ;  5  songs  for  one  voice  with  piano- 
forte, op.  10  ;  etc.  His  songs  were  pub- 
lished in  four  collections  in  Cologne  and 
Vienna. — AUgem.  d.  Biogi'.,  i.  200  ;  AUgem. 
Zeitg.,  Dec.  3,  1848,  Beilage  ;  Fetis ;  Men- 
del ;  Wurzbach,  i.  207. 

BECK,  FRANZ,  born  at  Mannheim  in 
1730,  died  at  Bordeaux,  Dec.  31,  1809.  Vio- 
linist, pupil  of  his  father,  who  was  privy 
councillor  to  the  Prince  Palatine  ;  adopted 
by  and  a  great  favourite  of  the  latter,  he  for- 
feited his  brilliant  prospects  in  consequence 
of  a  fatal  duel,  which  caused  his  flight  to 
Paris,  whence  he  was  called  in  1777  to  Bor- 
deaux as  concert  director.  Works  :  24  sym- 
phonies (1776)  ;  Stabat  Mater,  performed 
at  the  Concert  Spirituel,  Paris,  1783  ;  Pan- 
dore,  a  melodrama,  ib.,  Thi'atre  de  Monsieur, 
1789  ;  Gloria  ;  Credo  ;  Quartets  for  violin  ; 
Sonatas  for  pianoforte. — Fetis. 

BECK,  JOHANN  HEINRICH,  born,  of 
German  parentage,  in  Cleveland,  Ohio,  Sept. 
12,  1856,  still  living,  1888.  Violinist,  began 
the  study  of  the  violin  when  quite  young. 
In  1879-82  he  studied  in  the  Leipsic  Con- 
servatorium  the  pianoforte,  violin,  and  vi- 
ola, and  theory  and  composition  under  Carl 


138 


BECKEL 


Keinecke,  Jadassolin,  Oscar  Paul,  F.  Her- 
mann, Alfred  Richter,  and  others  ;  aud  ou 
his  return  in  the  latter  year  settled  in  Cleve- 
land as  a  teacher  and  violinist.  He  has 
received  considerable  praise  as  a  violinist, 
and  his  compositions  have  been  favour- 
ably noticed  in  both  Germany  and  Amer- 
ica. Originator  of  the  Schubert  Quartet  of 
Cleveland.  Works  :  Byron's  "Lara,"  ovei-- 
ture  in  E  minor ;  Shakespeare's  "  Romeo  and 
Juliet,"  overture  ;  String  quartet  in  C  minor  ; 
String  se.\tet  in  D  minor  ;  Bayard  Taylor's 
Deukaliou,  cantata.  Songs :  Bitte,  Der 
Schwere  Abend,  Meeresabend,  Bedouin  Love 
Song,  and  others.     These  are  all  in  MS. 

BECKEL,  JAMES  COX,  born,  of  Ameri- 
can parentage,  in  Philadelphia,  Pennsylvania, 
Dec.  20,  1811,  still  Uving,  1888.  Organist, 
began  the  study  of  music  at  the  age  of  six 
under  Jacob  Reelsecker,  a  Moravian  min- 
ister, and  afterwards  studied  counterpoint 
and  musical  theory  under  Filippo  Trajetta. 
"When  thirteen  years  old  he  was  chosen  or- 
ganist of  St.  James's  Church,  Lancaster. 
In  1840  he  became  organist  of  St.  Raid's 
Church,  in  1843  of  the  Crown  Street  Church, 
in  1847  of  the  Clinton  Street  Church,  all  in 
Philadelphia  ;  in  1858  of  Christ  Church, 
Germantown,  where  he  remained  until 
1876,  when  he  returned  to  the  Clinton 
Street  Church,  Philadelphia,  of  which  he 
is  still  organist.  Works :  3  cantatas.  The 
Nativity,  Pilgrim's  Progress,  and  Ruth ; 
The  Restoration,  oratorio,  in  MS.  ;  and 
many  minor  pieces.  He  has  also  written 
a  method  of  organ  instruction,  and  is  the 
compiler  of  The  Psalter,  a  collection  of 
church  music. 

BECKER,  ALBERT  (ERNST  ANTON), 
born  at  QuedHnburg,  June  13,  1834,  still 
living,  1888.  Pupil  of  the  organist  Her- 
mann Bonicke,  then  of  Dehu  in  Berlin 
(1853-56),  where  he  settled  as  a  music 
teacher,  and  in  1881  became  professor  of 
composition  at  Scharwenka's  Conservato- 
rium.  For  his  symphony  he  received  the 
second  prize  from  the  Gesellschaft  der  Mu- 
sikfreunde  in  Vienna,  1861.     Works :  Lie- 


der,   op.   1   (Leipsie,  Siegel,  1857)  ;  Lieder 

im    Volkston  fiir  Haus  und  Herz   (Berlin, 

Simrock)  ;    S3'm- 

phony  in  G  minor 

(1858);  Lieder 

aus  Julius  Wolff's 

Rattenfilnger  von 

Hameln,    do.   aus 

Der  wilde  Jager 

(1877);  Mass  in  B 

minor  (Leipsie, 

Breitkojjf  &  Har- 

tel,  1879);  Weine 

nicht!,  a  dirge  for  the  soldiers  fallen   in 

battle,  18GG  ;  Reformations  Kantate  (1883)  ; 

chorals    and    sacred    folk-songs. — Mendel, 

Ergiinz.,  27  ;  Riemann  ;  Wochenblatt  (1884), 

179,  214. 

BECKER,  CONSTANTIN  JULIUS,  born 
at  Freiberg,  Saxony,  Feb.  3,  1811,  died  at 
Oberlosnitz,  ib.,  Feb.  26,  1859.  Dramatic 
composer,  pupil  of  Aiiacker  in  singing,  then 
at  Leipsie  of  Karl  Ferdinand  Becker  (or- 
ganist and  distinguished  writer  on  music, 
1804-77)  in  counterpoint.  In  1837  he  be- 
came editor  of  the  Neue  Zeitschrift  fiir 
Musik  and  wrote  many  articles  for  it  until 
1846 ;  about  1843  he  settled  at  Dresden, 
and  taught  singing  and  composition  until 
1846,  when  he  retired  suddenly  to  Ober- 
losnitz. Works :  Symphony  for  grand  or- 
chestra, performed  at  Leipsie,  1843  ;  Das 
Zigeunerleben,  rhapsody,  ib.,  1845 ;  Die 
Erstiirmung  von  Belgrad,  opera,  ib.,  1848  ; 
Lieder,  op.  2,  5,  6,  8,  14,  17  (Leipsie  and 
Dresden) ;  3  duets  for  female  voices,  op.  36  ; 
Lieder  for  three  voices  and  pianoforte,  op. 
21,  23  ;  Serenade  for  violin  aud  violoncello, 
op.  34.  He  has  also  written  a  singing 
method  for  male  voices  (Leipsie,  1845),  and 
two  treatises  ou  harmony. — Allgem.  mu.s. 
Zeitg.,  1.  411  ;  Fetis. 

BECKER,  JOHANN,  born  in  Mannheim, 
Germany,  May  11,  1836,  died  there,  Oct. 
10,  1884.  Violinist,  pupil  in  Mannheim  of 
Kettenus  and  in  Paris  of  Alard.  He  ap- 
peared in  public  when  only  eleven  years 
old,  succeeded  Kettenus  as  leader  of  the 


139 


BECKER 


1 


Mannheim  orchestra,  played  with  success  in 
Paris  and  Loudon  in  1859-60,  and,  after 
travelling  through  most  of  Europe,  settled 
in  1866  at  Florence,  where,  with  Masi  and 
Chiostri,  and  the  German  violoncellist  Hil- 
pert,  he  established  the  celebrated  Floren- 
tiuer  Quartett,  which  had  a  well-deserved 
reputation  for  the  performance  of  string 
music.  He  composed  music  for  the  violin. 
BECKER,  REINHOLD,  born  atUdorf, 
Saxony,  in  1842,  still 
living,  1888.  Violin- 
ist, fived  for  some 
years  in  Souther  u 
France,  giving  con- 
certs, but,  obliged  to 
give  up  his  instru- 
ment on  account  of 
an  injury  to  his  hand, 
he  settled  in  Dres- 
den as  a  comjioser. 
Works  :  Der  Priiiz  von  Homburg,  sym- 
phonic poem  ;  Concerto  for  violin  ;  Wald- 
morgen,  for  male  chorus  ;  Songs. 

BECKMANN,  JOHANN  FRIEDRICH 
GOTTLIEB,  born  in  1737,  died  at  Celle, 
April  25,  1792.  Instrumental  and  vocal 
composer  and  one  of  the  best  pianists  of 
the  18th  century.  He  was  organist  of  the 
new  church  at  Celle,  and  excelled  in  impro- 
visation, in  which  ho  often  made  use  of 
double  counterjjoint.  Works :  Lukas  und 
Hannchen,  opera,  given  at  Hamburg,  1782  ; 
3  sonatas  for  harpsichord  (17G9) ;  3  do. 
(Hamburg,  1770) ;  3  concertos  for  harpsi- 
chord (Berlin,  1779) ;  Solo  for  harpsichord 
(Hamburg,  1797).— Fetis  ;  Schilling. 

BECQUIE,  JEAN  IMARIE  (?),  born  at 
Toulouse  about  1800,  died  in  Paris,  Nov. 
10,  1825.  Flutist,  pupil  of  Tulou  and  of 
Guillod  at  the  Conservatoire,  Paris,  where 
he  won  the  first  prize  in  1822.  Having  for 
some  years  played  in  the  orchestra  of  a 
small  theatre,  he  became  first  flutist  at  the 
Opera  Comique  in  1821.  Works  :  Grande 
fautaisie  and  variations  for  flute,  with  or- 
chestra ;  Les  regrets,  do.,  for  flute  and 
pianoforte ;    Ronde    d'Emma    variee ;    Air 


nouveau  ;  Fantaisies  on  different  themes, 
etc.— Fetis. 

BECQUI^,  JEAN  IVIARIE,  called  Bee- 
quie  de  Peyreville,  born  at  Toulouse  in 
1797,  died  in  Paris,  January,  1876.  Violin- 
ist, brother  of  preceding,  pupil  of  Rudolf 
and  August  Kreutzer  at  the  Consei'vatoire, 
Paris,  where  he  won  the  second  jsrize  in 
1823,  and  the  first  in  1826.  He  played 
successively  in  several  theatre  orchestras, 
and  was  then  for  many  years  violinist  at 
the  Theatre  Italien.  Works  :  Fantaisie  for 
violin  and  pianoforte  ;  Air  varie,  with  vio- 
lin, viola,  and  bass;  do.,  with  quartet;  Sev- 
eral other  pieces  for  violin. — Fetis. 

BESVAROVSKY,  ANTON  FELIX,  born 
at  Jungbunzlau,  Bohemia,  AjH-il  9,  1754, 
died  in  Berlin,  May  15,  1823.  Organist  of 
the  Church  of  St.  James,  Prague,  about 
1777,  of  the  principal  church  at  Brunswick 
in  1779,  resigned  in  1796,  lived  at  Bam- 
berg until  1800,  when  he  removed  to  Ber- 
lin. Works :  Concerto  for  pianoforte,  op.  1 ; 
do.,  op.  2  (Oflenbach,  1794)  ;  Three  sonatas 
for  pianoforte,  op.  3  (Berlin,  1797) ;  Con- 
certo for  do.,  op.  6  (Brunswick) ;  Niihe  des 
Geliebten,  song  with  pianoforte  ;  Gesiinge 
beym  Klavier,  2  collections  (1801);  Songs 
with  pianoforte,  1st  collection  (Offenbach, 
1799) ;  do.,  2d  collection  (ib.) ;  Die  Wiirde 
der  Frauen,  song  with  pianoforte  (1800). — 
Fetis  ;  Mendel  ;  Schilling. 

B:6DARD,  JEAN  BAPTISTE,  liorn  at 
Rennes,  Brittany,  about  1765,  died  in  Paris 
about  1815.  Violinist ;  was  first  violin  and 
maitre  de  musique  at  the  theatre  of  his 
native  town,  and  settled  in  Paris  in  1796. 
Works :  Two  symphonies  for  grand  orches- 
tra ;  Duet  for  harp  and  horn  ;  Several  suites 
for  wind  instruments  ;  Duets  for  violins,  op. 
2,  3,  4,  28,  53,  and  58  ;  Suites  of  duets  for 
one  violin  (double  string) ;  Square  dances 
and  waltzes  for  orchestra  ;  Airs  varies,  and 
pot-pourris  for  violin  ;  Methode  for  violin 
(Paris,  I860).— Fetis. 

BEECKE,  IGNAZ  VON,  lived  in  the 
latter  half  of  the  18th  century,  died  at  Wal- 
lerstein,  January,   1803.     One  of  the  best 


14U 


T^F.TTriAARD 


harpsichoitT  plaj-ers  of  his  time.  He  was  \ 
captain  of  dragoous  iu  Hobenzollcru,  was  a 
friend  of  Gluck  and  of  Jommelli,  bis  master 
in  composition,  and  of  W.  A.  Mozart,  with 
whom  he  played  a  concerto  for  four  hands 
at  the  Emperor's  coronation  at  Frankfort. 
Among  his  works  are  :  Roland,  French  op- 
era ;  Claudine  de  Villa  Bianca,  opera,  given 
in  Vienna,  1784  ;  Die  Weinlese,  do.,  ib., 
about  1785;  Die  Jubelbochzeit,  List  ge- 
gen  List,  Nina,  Die  zerstOrte  Hirtenfeier, 
operas  ;  Overture  and  choruses  to  the 
Hermannssehlacht ;  lOagen  iiber  den  Tod 
der  grossen  Silngerin  Nanette,  von  Gluck 
(Augsburg,  1777) ;  Der  brave  Maun  (Mainz, 
1784) ;  Friedens  Kautate  for  grand  orches- 
tra (Hambui-g,  1797).  His  instrumental 
music  consists  of  six  sonatas  for  harpsi- 
chord, four  trios  for  do.  (Paris,  17G7) ;  Six 
symphonies  for  eight  parts,  six  symphonies 
for  six  i^arts  ;  Three  quartets  for  flute,  vio- 
lin, viola,  and  bass  ;  Three  do.,  2d  book 
(Spires,  1791).  An  oratorio,  Die  Auferste- 
hung  Jesu  (1794) ;  besides  a  great  deal  of 
vocal  music  with  pianoforte  accompaniment. 
— letis  ;  Gerber,  N.  Lex.;  Schilling. 

BEEHGAARD,  JULIUS,  born  at  Copen- 
hagen, Dec.  19,  1843,  stiU  living,  1888. 
Composer,  pupil  of  the  Conservatorium, 
Leipsic,  and  in  Copenhagen  of  several  mas- 
ters, last  of  Gade  ;  visited  Germany  and 
Italy,  and  lived  for  some  time  in  Paris  be- 
fore returning  to  his  native  city.  Works  : 
Concert  overture  for  orchestra ;  Sailor's 
Life,  On  the  Field  of  Battle,  Cycluses  for 
baritone  solo,  with  pianoforte  ;  Four-part 
songs,  songs,  and  pianoforte  music. — Men- 
del, Ergiiuz.,  29. 

BEER,  JACOB.     See  Meyerbeer. 

BEER,  JOSEF,  born  at  Griinwald,  Bo- 
hemia, April  18,  1744,  died  at  Potsdam  in 
1811.  At  first  a  trumpeter  in  the  Austrian 
army,  he  entered  the  French  service  shortly 
after,  and,  going  to  Paris  in  1771,  was  en- 
rolled in  the  Garde  du  Corps,  where  he  first 
took  up  the  clarinet,  and  became  the  most 
eminent  virtuoso  ever  heard  on  that  instru- 
ment, which  he  perfected  by  adding  the 


fifth  valve.  In  1777-82  he  was  chamber 
musician  to  the  Due  d'Orli'aus,  and  after  a 
concert  tour  through  Holland,  England, 
and  Germany,  held  a  similar  position  at 
the  court  of  St.  Petersburg  in  1783-90,  and 
finally  in  Berlin,  from  1792.  Works:  3 
concertos  for  clarinet ;  6  duets  for  do.;  Solo 
variations  for  do. — Fctis  ;  Mendel ;  Schil- 
ling ;  Wurzbach. 

BEER,  JULES,  born  about  1835,  still 
living,  1888,  in  Pari.s.  Amateur  dramatic 
composer,  nephew  of  Meyerbeer.  Works  : 
En  etat  de  siege,  comic  opei-a,  performed 
in  Paris,  1859  ;  Les  roses  de  M.  de  Males- 
herbes,  do.,  ib.,  18G1  ;  La  fille  d'fegypte, 
ib..  Theatre  Lyrique,  18G2  ;  Elisabetta  d' 
Ungheria,  La  Scala,  Milan,  Feb.  15,  1871 ; 
Le  Paria  ;  The  137th  psalm,  for  soli,  chorus, 
and  orchestra,  Paris,  1868  ;  Songs. — Fetis, 
Supplement,  i.  G3. 

BEER,  MAX  JOSEF,  born  iu  Vienna, 
1851,  still  living,  1888.  Dramatic  com- 
poser, first  instructed  by  his  father,  then 
pupil  of  Dessoft'.  Works :  Otto  der  Schiitz, 
opera  (MS.) ;  Der  Pfeiferkonig,  do.  ;  Das 
Stelldicheiu  auf  der  Pfahlbriicke,  operetta 
(prize) ;  Der  wilde  Jiiger,  for  soli,  chorus, 
and  orchestra ;  Suite  for  pianoforte,  op.  9  ; 
Eichendorffiana,  Spielmannsweisen,  Abend- 
feier,  Heidebilder,  Was  sich  der  Wald  er- 
ziihlt,  lyric  cycles  for  pianoforte  ;  Songs. 
— Riemann. 

BEETHOVEN,  LUDWIG  VAN,  born  iu 
Bonn,  Dec.  16, 
probably  17  70, 
died  in  Vienna, 
March  26,  1827. 
The  family  came 
originally  from 
a  village  near 
Louvain, whence, 
iu  1650,  they  re- 
moved to  Ant- 
werp. The  name, 
originally  as  we 
now  know  it,  underwent  various  changes  of 
spelling  (BiethofTen,  Biethofen,  Biethoven, 
Bethoveu,  Betthoven,  Bethof),  until  at  last 


BEETHOVEN 


it  returned  to  its  original  form.  Ludwig's 
father,  Jean,  and  his  grandfather  Ludwig 
were  musicians  in  the  court  baud  of  the 
Elector  of  Cologne  at  Bonn  ;  his  mother, 
Maria  Magdalena  Keverich,  was  daughter 
of  the  head-cook  at  Ehrenbreitstein.  She 
was  the  widow  of  one  Leym,  or  Laym, 
when  she  married  Jean  Beethoven,  Nov.  12, 
1767.  Ludwig  was  the  second  of  seven 
children,  but  as  the  first,  Liidwig  Maria, 
born,  April  1,  1769,  lived  only  six  days,  he 
was  virtually  the  eldest  of  the  family.  He 
began  to  study  music  at  the  age  of  four 
under  his  father,  a  barsh  teacher,  who  seems 
well  to  have  appreciated  his  son's  talent. 
The  boy  was  taught  the  ordinary  branches 
and  a  little  Latin  at  a  public  school,  which, 
however,  be  left  when  he  was  thirteen. 
When  he  was  nine  years  old  his  father  gave 
up  his  musical  education  to  Pfeift'er,  a  tenor 
singer  at  the  Bonn  opera.  He  studied  the 
organ  under  Van  den  Eeden,  organist  of 
the  court  chapel,  and,  after  he  had  left 
school,  Latin,  French,  and  Italian  under  j 
one  Zambona.  In  1781  he  began  to  study 
under  Neefe,  who  succeeded  Van  den  Eeden 
as  court  organist.  A  year  or  two  later  he 
was  up  to  playing  most  of  the  Wohltemper- 
irte  Klavier,  and  to  taking  Neefe's  jslace  at 

the  organ  when 
necessary.  In 
1783  he  was  ap- 
pointed cembal- 
ist in  the  or- 
chestra without 
salary,  part  of 
the  duties  of 
the  position  be- 
ing to  conduct 
the  opera  or- 
chestra.  In 
1784  he  was  appointed  second  organist, 
with  a  salary  of  1.50  florins  (about  $63.30). 
During  this  year  be  studied  the  \iolin  under 
Franz  Ries.  In  1787  he  made  his  first  trip 
to  Vienna,  where  he  stopped  pi-obably  not 
longer  than  three  months,  taking  a  few  les- 
sons of  Mozart.     Ou  his  return  to  Bonn  he 


made  the  acquaintance  of  von  Breuning,  to 
whose  children  he  gave  lessons,  and  in 
whose  family  his  taste  for  literature  was 
first  cultivated.  In  1788  he  entered  the  or- 
chestra of  the  new  National  Theatre  as  sec- 
ond viola.  His  circumstances  at  this  time 
were  of  the  saddest ;  his  mother  and  his 
only  remaining  sister  had  died  (one  sister, 
born,  1779,  lived  only  four  days),  and  his 
father  had  become  a  confirmed  drunkard ; 
he  was,  moreover,  very  poor.     In  1790  and 


Beethoven's  Birthplace. 

1792  Haydn  passed  through  Bonn  on  his 
way  to  and  from  London  ;  on  the  second 
occasion  he  warmly  praised  a  cantata  by 
Beethoven,  which  was  given  before  him. 
Up  to  this  time  the  Elector  had  taken  no 
esisecial  notice  of  Beethoven,  but  now  he 
determined  that  he  should  be  sent  to  Vienna 
to  study.  Accordingly  he  went,  at  the  age 
of  twenty-two,  and  the  second  period  of  his 
life  began.  His  comjjositions  had  hitherto 
been  singularly  few  and  unimportant,  com- 
pared with  the  early  works  of  other  great 
composers  ;  but  when  he  reached  Vienna 


142 


BEETHOVEN 


Haydn  considered  liini  quite  up  to  the 
greatest  undertakings,  and  very  soon  volun- 
tarily transferred  liis  own  mantle,  as  it  were, 
to  the  young  man's  shoulders.  Mozart  had 
died  the  year  before.  In  November,  1792, 
Beethoven  was  well  settled  in  the  Alservor- 
stadt,  Vienna,  and  immediately  began  study- 
ing under  Haydn  ;  the  lessons  were  in  strict 
counterpoint  (strict  according  to  the  then 
existing  views  in  Germany,  but  probably 
pretty  lax  by  the  Palestrina  standard),  the 
text-book  being  Fux's  Gradus  ad  Parnas- 
sum.  But  Haydn  was  too  busy  to  give  him 
the   attention    he  desired,   and  Beethoven, 

dissatisfied  with 
his  progress, 
soon  took  extra 
lessons  secretly 
from  S  c  h  e  n  k. 
When  Haydn 
went  again  to 
England,  in  1794, 
Beethoven  con- 
tinued his  studies 
in  counterjjoint 
under  Alln-echtsberger,  and  took  violin  les- 
sons from  Schuppanzigh.  He  also  benefited 
by  the  advice  of  Salieri  in  Italian  vocal  com- 
position, and  of  Aloys  Forster  in  quartet 
writing.  In  this  year  his  allowance  from 
the  Elector  was  stojipeil,  and  henceforth  he 
was  dependent  wholly  upon  his  own  re- 
sources. He  had  excellent  introductions  to 
influential  people,  and  the  time  of  his  ar- 
rival was  fortunate.  Mozart's  death  had  left 
the  field  comparatively  free.  It  was  as  a 
jjianist  that  he  first  became  known  at  the 
musical  parties  of  Priuz  Lichnowsky  and 
Baron  van  Swieten  ;  but  his  compositions 
soon  began  to  win  him  renown,  if  at  first  in 
a  rather  restricted  circle.  On  March  29, 
1795,  he  made  his  first  apjiearance  before 
the  general  public  with  his  concerto  in  C  at 
the  annual  concert  in  the  Burg  Theater  for 
the  widows's  fund  of  the  Artists'  Society. 
In  1796  he  and  Haydn  appeared  together 
at  a  second  concert.  He  had  already  paid 
short  visits  to  Prague  and  Nui'emberg,  and 


before  the  j'ear  was  out  he  went  back  to 
Prague,  and  even  to  Berlin,  where  he  played 
at  court  and  at  the  Singakademie.  He  very 
soon  returned  to  Vienna.  In  1798  he  again 
visited  Prague,  playing  at  two  concerts  there. 
During  this  year  he  met,  and  had  a  friendly 
rivalry  with,  WOlffl  in  Vienna.  Up  to  the 
end  of  the  century  his  Vienna  comjjositions, 
excepting  the  first  concerto,  had  all  been  in 
the  way  of  chamber  music  ;  but  in  1800  his 
C  major  .symphony  appeared,  although  it 
had  been  written  for  two  or  three  years.  It 
was  brought  out,  on  April  2d,  at  a  benefit 


Caricature   of   Beethoven. 


concert  given  him  at  the  Burg  Theater.  In 
1801.  Czerny  first  began  to  take  lessons  of 
him.  In  this  year  his  deafness,  premoni- 
tory symptoms  of  which  had  shown  them- 
selves as  early  as  1798,  began  to  trouble 
him  seriously.  His  productiveness  went  on 
increasing  steadily  until  his  death  ;  he  was 
in  the  habit  of  working  on  several  composi- 
tions at  a  time,  and,  although  he  composed 
very  slowly,  writing  and  rewriting  passages 
over  and  over  again  until"  he  was  satisfied 
with  them,  he  was  certainly  one  of  the  most 
prolific  of  composers.  As  he  brought  out 
one  work  after  another,  his  success  with  the 


143 


BEETHOVEN 


Vienna  public,  and  especially  with  the  circle 
of  distinKiiisbed  amateurs  amonp;  whom  he 


Beethoven's  Tomb,  Vienna. 

found  his  most  influential  patrons,  was  al- 
most constant,  no  matter  what  strictures 
critics  and  contemporary  composers  might 
make  on  his  music.  In  spite  of  his  brusque 
manners  and  his  utter  disregard  for  the 
conventionalities,  even  for  the  common  de- 
cencies, of  social  intercourse,  he  never  lacked 
a  circle  of  worshipping  admirers  who  were 
willing  to  put  up  with  all  his  whims.  He 
passed  his  summers  in  the  country,  for 
which  he  had  an  ardent  love,  and  was  very 
restless,  changing  his  winter  lodgings  al- 
most every  jear,  sometimes  more  than  once 
in  a  season.  The  nearest  ajjproach  to  his 
losing  his  hold  upon  the  public  was  about 

1823,  when  the  Eossini  fever  was  at  its 
height.  The  popularity  of  Rossini's  operas 
probably  had  more  to  do  with  this  than  the 
novelty  of  his  own,  so-called,  third  manner ; 
for  when  his  ninth  symphony  was  given,  in 

1824,  it  was  received  with  unbounded  en- 
thusiasm by  the  audience.     Although  the 


sums  he  received  from  publishers  seem 
small  to-day,  he  was  reallj'  fairly  well  off  in 
a  material  way  during  his  life  in  Vienna. 
He  never  held  anj'  official  position,  but  re- 
ceived yearly  allowances  from  more  than 
one  noble  patron  ;  and  when  these  noble- 
men died  he  had  already  invested  money  in 
the  Bank  of  Austria.  The  privations  he 
submitted  to  in  his  later  years  were  for  the 
most  part  voluntary,  and  occasioned  by  his 
laying  up  money  to  provide  for  his  nephew 
Carl,  the  whole  charge  of  whose  mainte- 
nance and  education  he  took  upon  himself 
at  the  death  of  his  brother  Caspar  Karl  in 
1826.  The  recklessness  and  ingratitude  of 
this  young  ne'er-do-weel,  together  with  his 
own  increasing  deafness,  which  at  last  be- 
came total,  and  general  ill-health,  the  result 
of  a  disease  which  even  his  iron  constitu- 
tion could  not  withstand,  were  the  great 
crosses  of  the  later  part  of  his  life.     The 


Beethoven's  Statue   in    Bonn, 

immediate  cause  of  his  death  was  an  attack 
of  dropsy  brought  on  by  a  cold  in  the  stom- 
ach caught  while  travelling  in  the  damp 
December    weather    iu    an    open    chaise. 


BEETHOVEN 


His  funei-al  was  attended,  says  Breuuiug, 
by  20,000  people,  iiicluiling  many  distiu- 
guislied  musicians,  and  a  great  crowd  fol- 
lowed the  hearse  to  the  Wiihringer  Ceme- 
tery, where  the  body  was  interred  under  the 
south  wall.  In  1863,  the  grave  having  fallen 
into  neglect,  the  remains  both  of  Beethoven 
and  of  Schubert,  who  lay  near  him,  were  ex- 
humed and  reburied  by  the  Gesellschaft  der 
Musik-Freunde,  and  Beethoven's  place  of 
sepulture  was  marked  by  the  monument  il- 
lustrated above.  In  1888  the  remains  were 
again  taken  up  and  removed,  with  imposing 
ceremonies,  to  the  Central  Cemetery.  Beet- 
hoven was  below  middle  height — not  more 
than  five  feet  and  five  inches — but  broad 
across  the  shoulders  and  strongly  built. 
The  full-length  sketch  by  Lyser,  on  page 
143,  though  probably  intended  for  a  cari- 
cature, is  said  by  Breuning  to  give  a  good 
idea  of  his  general  appearance.  Works 
— Dramatic  :  Fidelia,  opera,  given  in  Vienna, 
Theater  an  der  Wien,  Nov.  20,  1805.  In- 
strumental. I.  For  orchestra  :  9  sympho- 
nies, xrrC,oj).2j),  intb,rap,  36,iu'JE-flat  {Sin- 
fonia  Erojca),  op.  5.'^,  in  B-flat,  op.  60,  in  C 
minor,  op.  67:,  in'¥ {Sinfonia  Pastorale),  oy). 
6^  in  Aj  ,o]j.  92,  in  F,  o-^.  93,,  in. D  minor 
{Choral  SymiDhony),  o]).  125;  Die  Ge- 
schopfe  des  Prometheus,  ballet,  op.  43  ; 
Music  to  Goethe's  Egmont,  op.  84  ;  Wel- 
linglon's  Sieg  oder  die  Schlacht  bei  Vit- 
toria,  op.  91 ;  10  overtures,  to  Prometheus, 
in  C,  op.  43,  to  Coriolan,  in  C  minor,  op. 
G2,  to  Leonore  (No.  1,  charakteristische  Ou- 
verture),  in  C,  op.  138,  do.  (No.  2)  in  C,  op. 
72a,  do.  (No.  3),  in  C,  op.  72a,  to  Fidelio, 
in  E,  op.  72b,  to  Egmont,  in  F  minor,  op. 
84,  to  Rainen  von  Athen,  in  G,  op.  113,  zur 
Namemfeier,  in  C,  op.  115,  to  Ki^ni.g  Ste- 
phan,  in  E-flat,  op.  117,  Die  Weihe  des 
Hauses,  in  C,  op.  124  ;  Allegretto  (Gratula- 
tions-Menuet),  in  E-flat  ;  Triumphmarsch  zu 
Tarpeja,  in  C  ;  12  menuets  ;  12  German 
dMces  ;  12  square  dances  ;  2  marches,  for 
miTitary  band,  in  D  and  in  F./  For  violin 
and  orchestra :  Romanze  in  G,  op.  40  ;  do. 
in  F,  op.  50  ;  Concerto  in  D,  op.   61.     11. 


For  strings :  3  quintets,  for  2  violins,  2  violas, 
and  violoncello,  in  E-flat  (after  octet,  op. 
103),  op.  4,  in  C,  op.  29,  in  C  minor  (after 
trio,  op.  1),  01^.  104  ;  Fugue  in  D,  for  do., 
oj).  137  ;  Movement  in  C  from  an  unfinished 
quintet,  for  do. ;  17  (]uartets,  for  2  violins, 
viola,  and  violoncello,  in  F,  G,  D,  C  minor, 
A,  B-flat,  op.  18,  Nos.  1-6  {Lobkotvilz  Quar- 
tets), in  F,  E  minor,  C,  op.  59,  Nos.  1-3 
{Rasoumowskij  Quartets),  in  E-flat,  op. 74  in  F 
minor,  op.  95,  in  E-flat,  op.  127,  iu  B-flat,  o^j. 
130,  in  C-sharp  minor,  oj).  131,  in  A  minor, 
op.  132,  in  F,  op.  135,  in  F  (after  sonata, 
op.  14,  No.  1) ;  Grand  fugue  iu  B-flat,  for 
do.;  4  trios,  for  violin,  viola,  and  violoncello, 
iu  E-flat,  op.  3,  in  G,  D,  C  minor,  op.  9,  Nos. 
1-3  ;  Serenade  in  D,  for  do.  '  HL  For  "wind 
instruments :  Octet,  for  2  oboes,  2  clarinets, 
2  horns,  and  2  bassoons,  in  E-flat,  ojp.  103  ; 
Eondiuo,  for  do.,  in  E-flat ;  Sextet,  for  2 
clarinets,  2  horns,  and  2  bassoons,  in  E-flat, 
op.  71  ;  Trio  for  2  oboes  and  English  horn, 
oix  87  ;  3  duos  for  clarinet  and  bassoon  ;  2 
equal^or  4  trombones.  IV.  For  string  and 
wind  iustrume\ts  :  Septet,  for  violin,  viola, 
clarinet,  bassooDv  violoncello,  and  double 
bass,  in  E-flat,  op.  aO  ;  Sextet,  for  2  violins, 
viola,  violoncello,  and  2  horns,  in  E-flat,  op. 
81b ;  Serenade  for  flute,  violin  and  viola,  op. 
25.  V.  For  pianoforte  with  accompaniment 
— 1,  with  orchestra  :  7  concertos,  in  C,  op. 
15,  in  B-flat,  op.  19,  in  C  minor,  op.  37,  in 
G,  op.  58,  in  E-flat,  op.  73,  in  D  (after  the 
violin  concerto),  op.  Gl,  in  C  (for  pianoforte, 
violin,  and  violonceHo),  op.  56  ;  Phantasie 
with  chorus,  iu  C  nnnor,  op.  80  ;  Rondo  in 
B-flat  ; — 2,  with  strings  :  3  quartets,  in  E- 
flat,  D,  and  C  ;  Quartet  (after  quintet)  in  E- 
flat,  op.  16  ;  11  trios,  in  E-flat,  G,  C  minor, 
op.  1,  Nos.  1-3,  in  D,  E-flat,  op.  70,  Nos.  1 
and  2,  in  B-fl£i,t,  op.  97,  in  E-flat,  in  B-flat 
(in  one  movement),  in  D  (after  2d  sympho- 
ny), in  B-flat  (with  clarinet  or  violin,  and 
violoncello),  op.  11,  in  E-flat  (after  septet, 
op.  20),  op.  38  ;  14  variations  in  E-flat,  op. 
44  ;  Variations  (Jrii  bin  der  Schneider  Ka- 
kadu)  in  G,  op.  121a;  10  sonatas,  for  piano- 
forte and  violin,  in  D,  A,  E-flat,  op.  12,  Nos. 


145 


BEETHOVElSr 


1-3,  ill  A  minor,  op.  2.'j,  in  F,  op.  24,  in  A,    in  F,    G  minor,    op.    5,  Nos.    1  and   2,  in 
C  minor,  G,  op.  30,  Nos.   1-3,  in  A,  op.  47, 1  A,    op.    C9,     in    C,     D,    op.     102,     Nos.   1 


{Kreutzer  ■Sonata)  in  G,  op.  96  ;  Rondo,  for  [  and    2  ;    Variations    {Ein    Mi'idchen    oder 


do.,    in    G ;    Variations    (Se   vuol    ballare), 
for   do.,    in    F  ;     AUemaude,     for    do. ;    5 


Weibclieu),  for  do.,  in  F,  op.  60  ;  do.  (theme 
from   Judas  Maccabreus),   in  G ;    do.    (Bei 


sonatas,    for    pianoforte    and     violoncello,   Miiunern,  welche  Liebe  f(ibleu),  in  E-llat ; 


U6 


BEETHOVEN 


• — 3,  with  wiml  instruments  :  Quintet,  with 
oboe,  clarinet,  born,  and  bassoon,  in  E-flat, 
op.  16  ;  Sonata,  with  horn,  in  F,  op.  17  ;  C 
varied  themes,  with  flute  (or  violin),  op  105 ; 

10  do.,  op.  107.  VI.  For  pianoforte  alone 
— 1,  for  4  hands  :  Sonata  in  D,  ojx  G  ;  3 
marches,  in  C,  E-tlat,  and  D,  op.  45 ;  Varia- 
tions (theme  by  Count  Waldstein)  in  '  C  ; 
Lied  mit  Verilnderungen  {Ich  denke  dein), 
in  D  ;  Grand  fugue  (after  021.  133),  in  B-flat, 
op.  134  ; — 2,  solo  :  |32  sonatiis^yjtj^ttSijor, 
,A,  C,  op.»2,  Nq3.  1^3^  E-flat,  op.  J, "me 
minor',  F,  D,  op.  TO,  ^os.  1-3, fu  d  nimor 
(Sonate  pathctlque),  op.  l-B,  in  1?  G,  op.  14; 
Nos.  1  and  2,  in  B-flai,  op.  2e!,  ni  A-flafop. 
26,  in  E-flat,  Csharjo  niiner  (quasi-fantasia), 
op.  27  {Laubensonale),  No.s.  1  and  2,  in*  6, 
ojx  28  [Sonata  pastorale,)  iu  G,  D  minor, 
E-flat,  op.  31,  Nos.  1-3,  in  G  minor,  G,  op,' 
49,  Nos.  1  and  2,  jn  C,  op.  53  {Wakhtein 
sonata),  iu  F,  op.  54,  in  F  minor,  op.  57  {So- 
nala  appassionata,)  in  F-sharp  minor,  op. 
78,  in  G  (Souatiue),  op.  7t\<tn  E-flat  (Das 
Lebewohl,  die  Abweaeuheit,  das  Wieder- 
sehn),  oj).  81ft,  iu  E  minor,  op.  90,  iu  A,  op. 
101,  in  B-flat,  op.  106  {Sonate  fiir  das  Ham- 
merklavier),  in  E,  op.  109,  iu  A-flut,  op. 
110,  iu  C  minor,  op.  111.^  3  sonatas  iu  E- 
flat,  F  miuor,  and  D  (written  at  the  age 
of  eleven)  r  Leichte  Sonate  (fragment),  in 
C  ;  2  sonatiuas,  iu  G,  and  F  ;[  7  Bagalrllen, 
ojj.  33  J.  2  preludes  (also  for  organ)  op.  39  ; 
2  roudos,  in  C,  and  G,  op.  51  ;  Phantasie, 
iu  G  minor,  op.  77  ;  Polonaise,  in  C,  op.  89  ; 

11  (12)  neue  BagaleUen,  op.  119  ;  6  Baga- 
tellen,  op.  126 ;  Hondo  a  capriccio,  in  G,  ojj. 
129  ;  Koudo  in  A ;  Menuet  in  E-flat ;  Prii- 
ludium,  iu  F  minor  ;  6  menuets  (arrange- 
ment ?)  ;  7  liindlerisehe  Tilnze  ;  6  do.  (ar- 
rangement?); Andante  iavori,  in  F;  Ivleines 
Stiick,'iu  B-flat ;  Cadenzas  to  pianoforte  con- 
certos; Allemande  (originally  with  violin)  ; 
Letzter  Gedanke,  iu  C  (after  a  movement  for 
5  string  instruments) ;  6  variations  (original 
theme),  in  F,  oj).  34  ;  15  do.,  with  fugue  (do.) 
iu  E-flat,  op.  35  ;  6  do.  (do.),  iu  D,  op.  76  ; 
33  do.  (waltz  by  Diabelli),  in  C,  op.  120;  9  do. 
(march  by  Dressier),  iu  C   minor  •  24  do. 


( Vieni  amore),  in  D  ;  13  do.  (Es  war  ein- 
mal),  in  A  ;  9  do.  (Qiiant'  i-  pih  bello),  in  A  ; 
0  do.  (Nel  cor  jiiii  nou),  in  G  ;  12  do.  {3Ie- 
nuet  A  la  Vigano),  iu  C  ;  12  do.  (Russischer 
Tanz),  iu  A  ;  6  do.  (Schweizerlied),  in  F 
(also  for  harj))  ;  8  do.  [Une  fii-vre  brulaute), 
iu  C  ;  10  do.  (La  stessa),  iu  B-flat  ;  7  do. 
{Kind,  willst  du  ruhig  sehlafen),  iu  F  ;  8 
do.  {Tandehi  und  Scherzen),  in  F  ;  6  do. 
(original  theme),  in  G  ;  7  do.  {God  save  the 
king),  in  C  ;  5  do.  {Bide,  Britannia),  iu  D  ;  8 
do.  {Ich  hab'  ein  kleines  Hiittchen  nur),  iu 
B-flat ;  32  do.,  in  C  miuor  ;  7  do.  in  C 
{Reich  mir  die  Hand).  Vocal.  €.  With 
orchestra  :  Cliridas  am  Oelberge,  oratorio 
for  3  solo  voices,  and  chorus,  op.  85,  first 
performed  iu  Vienna,  Theater  an  der  Wien, 
April  5,  1S03  ;  Mass  iu  C,  for  4  solo  voices 
and  chorus,  op.  86,  Eisenstadt,  Sept.  8, 
1807 ;  Mass  {Missa  solennis),  in  D,  for  do., 
op.  123,  St.  Petersburg,  March  27,  1824; 
Die  Ruinen  von  Athen,  eiu  Nachsj^iel  (Kot- 
zebue),  op.  113  ;  Kunig  Stejjhau,  ein  Vor- 
spiel  (Kotzebue),  op.  117,  Pestb,  Deutsches 
Theater,  Feb.  9,  1812 ;  March  with  chorus 
from  Die  Euincu  von  Athen,  op.  114,  Vien- 
na, Joseijhstildter  Theater,  Oct.  3,  1822  ;  Der 
glorreiche  Augenblick,  cantata  for  4  solo 
voices  and  chorus,  op.  13G,  Vienna,  Nov.  29, 
1814  ;  Music  to  Goethe's  Egmont,  op.  84, 
Vienna,  May  24,  1810  ;  Chorus  in  Phantasie, 
op.  80  ;  do.  (Schiller)  in  9th  symphonj',  oji. 
125  ;  lleeresstille  und  gliiekliche  Fahrt,  for  4 
voices,  op.  112  ;  Tremate,  emjjj  tremate,  ter- 
zetto for  sojjrano,  tenor,  and  bass,  oj).  116  ; 
Ah  !  perfido,  scena  and  aria  for  sojjrano,  op. 
65  ;  Opferlied  for  do.,  with  chorus,  oj).  121b  ; 
German  ia's  Wiedergeburt,  for  bass  with 
chorus  ;  Es  ist  vollbracht !,  for  do. ;  Ele- 
gi.-<chcr  Gesang,  for  4  voices,  with  2  violins, 
viola,  and  violoncello,  op.  118  ;  Bandeiilled 
(Goethe),  for  2  solo  aud  3  choral  voices, 
with  2  clarinets,  2  bassoons,  aud  2  horns, 
015.  122  ;  Trauergesang  bei  Beethoven's  Lei- 
chenbegilnguiss,  for  four-part  male  chorus 
and  4  trombones.  11.  'S^ithout  accompani- 
ment :  Gesang  der  MOnche  (from  Schiller's 
Wilhelm  Tell),  for  3  male  voices  ;  18  canons 


^ 


147 


BEFFROY 


for  2,  3,  and  i  voices.  III.  Folk-songs,  for 
one  voice,  jjartly  for  two,  or  three  voices, 
and  small  chorus  :  25  Scotch  songs,  op.  108  ; 
25  Irish  songs ;  20  do. ;  12  do. ;  26  Welsh 
songs  ;  12  Scotch  songs  ;  12  miscellaneous 
songs  (English,  Scotch,  Irish,  and  Italian). 
IV.  Songs  with  pianoforte  :  An  die  Hofi- 
uung  (Tiedge),  op.  32  ;  Adelaide,  op.  46  ;  In 
tjuesta  tomba  oscura  ;  6  Lieder  (Gellert), 
op.  8  ;  8  do.,  op.  52  ;  6  do.,  oi^  75  ;  4  ariettas 
and  a  duet  (Metastasio),  op.  82 ;    3  songs 


^^^iS^'^    (A^ 


(Goethe),  oix  83  ;  Das  Gliick  der  Freuud- 
schaft,  op.  88  ;  An  die  Hoffnung  (Tiedge), 
op.  94  ;  An  die  fei-ue  Geliebte  (Cyclus  by 
Jeitteles),  op.  98  ;  Der  Maun  von  Wort, 
oj).  99  ;  Merkenstein,  op.  100  ;  Der  Kuss, 
op.  128  ;  28  others  without  op.  No.-/— Lenz, 
Beethoven,  eine  Kunststudie  (Caiwel,  1855- 
60)  ;  do.,  Beethoven  et  ses  trois  styles  (St. 
Petersburg,  1852)  ;  Schiudler,  Biographie 
von  L.  v.  B.  (Miinster,  1860)  ;  Kochel,  Drei 
und  achtzig  Briefe  Beethoven's  (Vienna, 
1865) ;  Thayer,  Chronologisches  Verzeich- 
nissderWerkeB.'s  (Berlin,  18G5);  do.,  Beet- 
hoven's Leben  (ib.,  1866-79)  ;  Nohl,  Beet- 
hoven's Lebeu  (Leipsic,  1867-77)  ;  do., 
Neue  Briefe  B.'s  (Stuttgart,  1867)  ;  Notte- 
bohm,  Thematisches  Verzeichuiss  der  Werke 
B.'s,  (Leipsic,  1868)  ;  do.,  Beethoveniana 
(Leipsic  k  Winterthur,  1872)  ;  do.,  Beethov- 
en's Studien  (ib.,  1873)  ;  do.,  Skizzenbuch 
(Leipsic  1880)  ;  Graeme,  Beethoven,  a  mem- 
oir (London,  1870) ;  Wagner  (Parsons),  Beet- 
hoven, (Boston,  1872)  ;  La  Mara,  Ludwig  van 
Beethoven  (Leipsic,  1873) ;  do.,  Musikalische 
Studienkopfe,  HI.  319,  465  (Leipsic,  1880)  ; 
Gerhard  von  Breuning,  Aus  dem  Schwarz- 
spanierhaus  (Vienna,  1874)  ;  Marx,  Ludwig 
van  Beethoven,  Leben  und  Schaffeii  (Berlin, 


1875)  ;     Naumann,    Deutsche    Tondichter 
(BerHn,  1882),  181. 

BEFFKOY  DE  EEIGNY,  LOUIS  ABEL, 
better  known  as  Cousin  Jacques,  born  at 
Laon,  France,  Nov.  6,  1757,  died  in  Paris, 
Dec.  18, 1811.  Eccentric  composer  of  operas, 
for  which  he  wrote  also  the  words,  and  the 
ephemeral  success  of  which  was  due  solely 
to  the  singularity  of  their  titles  and  subjects. 
They  were  :  Les  ailes  de  I'Amour,  given  in 
1786  ;  L'Histoire  universelle.  Theatre  Fey- 
deau,  17.89  ;  Nico- 
deme  dans  la  lune 
ou  la  Kevolution 
pacifique.  Theatre 
Fran9ais,  1790  ;  La 
federation  du  Par- 
nasse.  The  li  t  r  e 
Beaujolais,  1790 ; 
Jean-Bete,  Theatre 
des  Grands  Danseurs  du  Roi,  1790  ;  Louis 
XII.,  Les  foliesdansantes,  Di'lassementscom- 
iques,  1790  ;  Le  club  des  bonnes  gens.  Thea- 
tre de  Monsieur,  1791 ;  Nicodeme  avix  enfers. 
Theatre  Feydeau,  1791  ;  Les  deux  Nico- 
demes,  1791  ;  Allons,  (,•»  va,  ou  le  Quaker  en 
France,  Theatre  Feydeau,  1793  ;  Toute  la 
Groce,  ou  ce  que  pent  la  liberto,  Opera,  1794  ; 
La  petite  Nanette,  Theatre  Feydeau,  1796  ; 
Turlututu,  Empereur  de  I'lle  verte,  1797  ; 
Jean-Baptiste,  Theatre  Feydeau,  1798  ;  Un 
Rien,  ou  I'Habit  de  noces,  Ambigu  Comique, 
1798  ;  Le  grand  genre,  ib.,  1799  ;  Les  deux 
Charbonniers,  Madelon,  Le  Bonhomme,  ou 
Poulot  et  Fanchon,  Theatre  Montansier, 
1799.  He  also  jDublished,  Les  romances 
de  Berquin  (Paris,  1798),  and  a  collection 
of  chansons.  Soirees  chantantes,  ou  le 
Chansonnier  bourgeois  (ib.,  1805). — Fetis  ; 
do.,  Supplement,  i.  64. 

BEFIEHL  DU  DEINE  WEGE,  choral, 
to  the  melody  "O  Haupt  voll  Blut  und 
Wunden,"  in  D  major,  in  Johann  Sebastian 
Bach's  Passion  nach  Matthiius,  Part  11. 

BEGGAR'S  OPERA,  ballad  opera,  text  by 
1  John  Gay,  music  by  Johann  Christoph  Pe- 
I  pusch,  first  represented  at  Lincoln's  Inn 
I  Fields    Theatre,    Loudon,    Jan.    29,    1728. 


148 


BEHEERSCHER 


Written  ostensibly  as  an  exposure  of  the 
vices  of  criminals,  it  is  reallj'  a  keen  satire 
on  the  corruj)tiou  of  the  courtiers  and  poli- 
ticians of  the  day.  The  songs,  sixty-nine  in 
number,  were  all  written  to  English  and 
Scotch  ballad  tunes,  some  old  and  some  con- 
temporary, and  were  arranged  and  scored 
by  Dr.  Pepusch,  who  wrote  also  the  over- 
ture. The  piece  was  received  with  great 
applause,  was  acted  in  London  sixty-three 
times,  and  renewed  the  next  season,  and 
was  produced  in  all  the  large  towns  of  the 
kingdom.  Gay's  profits  from  the  work  are 
said  to  have  been  £2,000,  and  it  raised  some 


Lavinia  Fenton,    as  Polly  Pe^chum 

of  the  actors  in  it  from  obscurity  into  prom- 
inence. Lavinia  Fenton,  who  represented 
Polly  Peachum,  became  the  idol  of  the 
town.  Her  portrait  was  engraved  and  sold 
by  thousands,  her  life  was  written,  verses 
and  letters  to  h.er  published,  and  she  hei-- 
self,  after  resisting  innumerable  offers,  be- 
came the  mistress  of  the  Duke  of  Bolton 
and  ultimately  (1751)  Duchess  of  Bolton. 
The  Beggar's  Opera  was  followed  by  numer- 
ous imitations,  which  were  called,  from  the 
introduction  of  old  songs,  ballad  operas. 
— Hogarth,  ii.  40  ;  Schcelcher,  Life  of  Handel, 
81  ;  Edwards,  The  Prima  Donna,  i.  13 ; 
Chappell,  Popular  Music  of  Olden  Time, 
630. 


BEHERRSCHER  DERGEISTER,  DER, 

overture  to,  by  ^Yeber,  op.  27,  composed 
1811,  first  original  edition,  score,  Leipsic 
(Peters).  This  entirely  reconsti-ucted,  and 
jiartly  rewritten,  overture  belonged,  in  its 
original  and  now  lost  form,  to  the  unfinished 
opera  Riibezahl,  comjjosed  at  Bre.slau  in 
1804^5.  It  is  perhaps,  of  all  the  composer's 
instrumental  preludes,  the  most  regular, 
complete,  and  musician-like.  No  flaw,  from 
the  fiery  beginning  to  the  end  of  the  exciting 
peroration,  can  be  detected  ;  aU  is  harmo- 
nious and  rhythmical,  a  work  of  beauty. 
— Benedict,  141. 

BEHOLD  AND  SEE,  short  air  in  E 
minor,  in  Handel's  Jfrxsiah,  Part  H. 

BEHOLD  !  GOD  THE  LORD  PASSED 
BY.     See  I>cr  Herr  ging  voriiber. 

BEHOLD,  HOW  STILL,  HOW  CALM. 
See  Geduld  !  Geduld ! 

BEHOLD  THE  LAMB  OF  GOD,  chorus 
in  G  minor,  in  Handel's  Messiah,  Part  II. 

BEI  MANNERN,  WELCHE  LIEBE 
FUHLEN,  variations  on  theme  of,  for  piano- 
forte and  violoncello,  by  Beethoven,  com- 
posed in  1801  (?).  Dedicated  to  the  Count- 
ess Browne.  Tlie  theme  is  the  familiar 
duet  between  Pamina  and  Papageno,  in 
Mozart's  Die  Zaaherjldte:  Published  by 
Mollo  (Vienna). — Thayer,  Verzeichniss,  41. 

BEIDEN  NEFFEN,  DIE,  oder  Der 
Onkel  aus  Boston  (The  Two  Ne^^hews,  or 
The  Uncle  from  Boston),  opera  in  three  acts, 
text  by  Dr.  Caspar,  music  by  Mendelssohn, 
first  performed  in  his  father's  house,  Berlin, 
on  the  composer's  fifteenth  birthday,  Feb. 
3,  1824.  This,  Mendelssohn's  fourth  oper- 
atic work,  contains  an  overture  and  four- 
teen numbers  for  voices  and  orchestra.  It 
was  never  given  in  2:)ublic.  The  autograph 
MS.  is  preserved  in  the  Bibliothek,  Berlin. 

BEIDEN  PADAGOGEN,  DIE  (The  Two 
Pedagogues),  opera  in  one  act,  test  bj-  Dr. 
Casj)ar,  music  by  Mendelssohn,  first  ■pev- 
formed  in  his  father's  house,  Berlin,  1821. 
It  was  the  composer's  third  opera  and  was 
written  in  his  twelfth  year.  It  contains  an 
ovei'ture  and  twelve  numbers  for  voices  and 


149 


BEL 


Triuity,  Bordesley, 


orcliestra.     The  MS.  is  iu  the  Berlin  Bib- 
liotbek. 

BEL  EAGGIO.  See  Semiramide. 
BELCHER,  W1LLL\.M  THOMAS,  born 
iu  Birmingham,  Eng- 
land, March  8,  1827, 
still  living,  1888.  Or- 
ganist of  Great  Barr 
Church,  Staffordshire, 
1856  ;  of  St.  Silas  Lo- 
zell's,  B  i  r  m  i  u  g  h  am, 
1861 ;  of  St.  George's, 
ib.,18G4-78;  of  Hands- 
worth  Parish  Church, 
1878-81  ;  and  of  Holy 
1884  Mus.  Bac,  Ox- 
ford, 1867  ;  Mus.  Doc,  1872.  Works  :  The 
Sea  of  GalQee,  oratorio,  Oxford,  1872 ;  Es- 
telle,  ojsera  (MS.) ;  The  Fates,  cantata,  Ox- 
ford, 1867 ;  Excelsior,  cantata,  1868 ;  Church 
music  ;  Four-part  songs,  songs,  glees,  etc. 

BELCKE,  FRIEDRICH  AUGUST,  born 
at  Lucka,  Saxony,  May  27,  1795,  died  there, 
Dec.  10,  1874.  Virtuoso  on  the  trombone, 
son  and  pupil  of  Christian  Gottfried  Belcke, 
an  able  oboe  and  flute  player  (1765-1838). 
He  filled  a  place  iu  the  city  band  M'heu  a 
boy  of  twelve,  vfent  in  1811  to  Altenburg  to 
study  with  the  city  musician  Sachse,  and 
soon  after  to  Loipsic,  where  he  appeared  in 
solos  in  1815,  and  was  immediately  en- 
gaged for  the  Gewandhaus  and  theatre  or- 
chestras. With  his  brother  the  flutist,  Chris- 
tian Gottlieb  Belcke,  he  made  a  concert  tovir 
through  Merseburg,  Halle,  and  Dessau  to 
Berlin,  where  he  was  appointed  chamber  mu- 
sician in  1816.  Weber  invited  him  to  Dresden 
to  play  at  a  court  concert,  and  in  Berlin  he 
played  (after  1827)  at  church  concerts  with 
especial  success.  Concert  tours  through 
Germany,  Denmark,  and  the  Netherlands  in- 
creased his  fame,  and  the  Conservatoire  of 
Paris  conferred  upon  him  the  medal  of  hon- 
our in  1841:.  He  was  the  first  virtuoso  on  his 
instrument  who  introduced  it  into  the  con- 
cert room.  In  1858  he  resigned  his  j)osition 
in  Berlin,  and  retired  to  his  native  city.  Be- 
sides concertos  and  studies  for  his  instru- 


ment, he  composed  works  for  orchestra, 
wind  and  other  instruments,  and  pianoforte. 
— Fetis  ;  Mendel. 

BELICZAY,  JULIUS  VON,  born  at  Ko- 
morn,  Hungary,  Aug.  10,  1835,  still  living, 
1888.  Pianist,  jDujail  in  Vienna  of  Joachim 
Hoffmann  and  Franz  Krenu,  afterwards  of 
Anton  Halm  on  the  pianoforte,  and  of  Notte- 
bohm  in  theory.  After  living  alternately  at 
Presburg  and  Vienna,  he  has  resided  in 
Pesth  since  1871,  as  civil  engineer  of  the 
royal  Hungarian  railroad.  Works :  Mass 
for  soli,  chorus,  and  orchestra  ;  Ave  Maria, 
for  do.,  op.  9  ;  String  quartet,  op.  21 ;  Trio, 
op.  30 ;  Andante  for  string  orchestra,  op. 
25 ;  Pianoforte  music  for  two  and  four 
hands  ;  Songs. — Mendel ;  Ergiinz.,  30  ;  Eie- 
maun. 

BELISARIO,  opera  in  three  acts,  text  by 
Dartigny,  music  by  Philidor,  first  repre- 
sented at  the  Theatre  des  Italiens,  Paris, 
Oct.  3,  1796.  The  subject,  the  story  of 
Belisarius,  the  famous  Byzantine  general  in 
the  reign  of  the  Emperor  Justinian,  is  from 
Marmontel's  romance,  "Belisaire"  (1767). 
The  same  subject  is  treated  in  Belisar, 
German  melodrama,  music  by  Leon  de 
Saint-Lubin,  given  at  the  Josephstadt  The- 
ater, Vienna,  1827 ;  and  in  a  tragedy,  music 
by  J.  M.  Maurer,  Bamberg,  1830. 

BELISARIO,  Italian  opera  in  three  acts, 
text  and  music  bj'  Donizetti,  first  repre- 
sented at  the  Teatro  Fenice,  Venice,  Feb.  7, 
1836  ;  at  the  King's  Theatre,  Loudon,  April 
1,  1837 ;  at  the  KOnigstadische  Theater, 
Berlin,  April,  1838  ;  at  the  Theatre  des  Ita- 
liens, Paris,  Oct.  24,  1843  ;  and  at  Palmo's 
Opera  House,  New  York,  March  14,  1844. 
The  libretto,  which  recalls  Marmontel's 
romance  and  the  several  tragedies  on  the 
subject,  contains  some  striking  musical 
situations.  The  work  was  successful  in 
Italy  and  in  England,  but  was  not  very 
warmly  received  in  Paris.  It  was  sung  at 
the  Italiens  by  Giulia  Grisi,  Fornasari, 
Mile  Nissen,  Morelli,  Corelli,  and  ]\Ime 
Bellini ;  Fornasari  made  his  debut  iu  the 
title-role. 


150 


BELLA 


BELLA   COME   UN   PRIMO   AMORE. 

See  Ennmi. 

BELLA  FIGLIA  DELL'  AMORE.  See 
RigoMto. 

BELLA  IMAGO  DEGLI  DEL  See  ,S'e- 
miramiih. 

BELLA,  JOHANN  LEOPOLD,  born  at 
St.  Nicolau,  Ujjper  Hungary,  in  1843,  still 
living,  1888.  Church  composer,  self-taught 
on  the  violin,  pianoforte,  organ,  and  in 
singing  ;  a  proficient  at  the  age  of  eight. 
While  at  the  theological  seminary  at  Neu- 
sohl,  he  composed  an  instrumental  mass 
■when  only  sixteen.  In  Vienna,  wliere  he 
finished  his  studies  at  the  university,  his 
intercourse  with  Sechter  and  Preyer  only 
increased  his  tendency  to  a  severely  clas- 
sical style,  in  which  he  composed,  after  he 
had  become  a  priest  at  Neusohl.  His  most 
important  works  are  :  Hsec  dies,  and  Adora- 
mus  (in  the  style  of  Palestrina),  for  male 
quartet ;  Tu  es  Petrus,  motet  a  cappella, 
for  2  male  quartets  ;  Modlitba  sv.  Cyrilla 
(Prayer  of  St.  Cyrillus),  chorus ;  Several 
works  for  orchestra  ;  National  choruses  for 
male  and  mixed  voices ;  Pri  Presporku, 
concert  variations  for  pianoforte,  op.  0  ;  etc. 
— Mendel. 

BELLA  MIA  FIAMMA,  ADDIO,  concert 
aria  for  soprano,  with  orchestra,  by  Mozart, 
composed  at  Prague,  Nov.  3,  1787. 

BELLAZZI,  FRANCESCO,  composer  at 
Venice  in  the  first  half  of  the  17th  century. 
He  was  a  pupil  of  Giovanni  Gabrieli,  and 
an  imitator  of  Mouteverde.  Works  :  Salmi 
di  vespri  a  otto  voci  (Venice,  1618) ;  Sacro- 
rum  concentum,  etc.  (ib.,  1620) ;  Motetti, 
op.  4  (ib.,  1622) ;  Salmi  intieri,  etc.,  op.  5 
(Milan,  1623)  ;  Sahni  concertati,  op.  7 
(Venice,  1626) ;  Missa,  Magnificat  e  mo- 
tetti concertati,  etc.,  op.  8  (Venice,  1628). 
— Fetis. 

BELLE  AESfeNE,  LA,  fairy  comedy  in 
verse,  in  four  acts,  text  by  Favart,  music 
by  Monsigny,  first  represented  at  Fontaiue- 
bleau  by  the  Italian  comedians  in  ordinary 
to  the  king,  Nov.  6,  1773,  and  in  Paris  at 
the   Theatre    des   Italiens,   Aug.    14,    1775. 


Subject  from  Voltaire's  tale,  "  La  Be- 
gueule."  One  of  Mousigny's  best  works, 
and  very  successful.  Same  subject  treated 
by  Mazzinghi,  Loudon,  about  1797  ;  and  by 
Sor,  London,  about  1820. 

BELLE  H^LENE,  LA,  French  opera- 
bouffe  in  three  acts,  text  by  Henri  de 
Meillac  and  Ludovic  Halevy,  music  by 
Oft'enbach,  first  represented  at  the  Theatre 
des  Varietus,  Paris,  Dee.  17,  1864.  Sub- 
ject, the  seduction  of  Helen  by  Paris.  A 
piece  of  buffoonery,  full  of  ridiculous  anach- 
ronisms, in  which  the  heroes  and  gods  of 
Greece  are  made  to  masquerade  in  modern 
costumes  amid  modern  surroundings.  Mu- 
sically, it  is  one  of  the  best  of  Offenbach's 
bouffe  operas,  and  it  proved  one  of  the 
greatest  successes  ever  known  at  the  Vari- 
etes.  Original  cast :  Paris,  Dapuis  ;  Me- 
nelas,  Kopp ;  Calchas,  Gi'enier  ;  Agamem- 
non, Couder ;  Achille,  Guyon  ;  Ajax  I., 
Hamburger;  Ajax  II.,  Andof ;  Helene,  Mme 
Schneider  ;  Oreste,  Mme  Silh'. 

BELLE  ISABEAU,  LA,  a  tale  during  the 
storm,  for  a  voice,  with  chorus,  by  Hector 
Berlioz,  o-p.  19. 

BELLERM.YNN,  CONSTANTIN,  born  at 
Erfurt  in  1696,  died  at  Miinden,  Hanover, 
April  1,  1758.  Dramatic  composer,  became 
cantor  at  Miinden  in  1719,  and  rector  of  the 
higli  school  there  in  1741.  He  was  a  vir- 
tuoso on  the  lute,  the  viol  da  gamba,  the 
violin,  and  the  flute,  and,  besides  many 
other  poems,  wrote  the  texts  to  nearly  all 
his  vocal  compositions,  and  was  made  poet- 
laureate  in  1738.  Works — Oratorios  :  Die 
himmlischen  Heerschaaren,  performed  at 
GOttiugen,  1726  ;  Der  reiche  jVIanu  und  der 
arme  Lazarus,  1731  ;  Die  Allmacht  in  der 
Ohnmacht,  oder  die  freudenreiche  Geburt 
Jesu  Christi,  Erfurt,  1734 ;  Der  in  der 
Auferstehung  triumphirende  Jesus,  Die  sie- 
gende  Selileuder  des  heldenmiithigen  Da- 
1  vids,  1734  ;  Das  auf  ein  La  mi  sich  endi- 
gende  Wohlleben  des  reichen  Mannes,  Der 
verlorene  Sohn,  Die  Sendung  des  heiligen 
Geistes,  Erfurt,  1735  :  Issipile,  opera  (about 
\  1744) ;  Several  cantatas :  24  suites  for  the 


BELLEPwMANN 


lute ;  3  concertos  for  tlae  flute  ;  3  do.  for  j 
oboe  ;  10  do.  for  pianoforte  with  violiu  ;  6 
overtures  for  graud  orchestra ;    6   sonatas 
for   flute,  viol   da   gamba,  and  pianoforte. 
— Fetis  ;  Mendel ;  Schilling. 

BELLERMANN,  HEINRICH,  born  in 
Berlin,  March  10,  1832,  still  Hving,  1888. 
Vocal  composer,  sou  and  pupil  of  Fried- 
rich  Bellermanu  (1795-1874),  and  pupil  of 
Eduard  Grell ;  became  iustructor  of  vocal 
music  at  the  Grey  Convent  iu  1853,  royal 
director  of  music  iu  1861,  and  in-ofessor  at 
the  university  iu  1866.  Member  of  Berlin 
Academy,  1875.  Works :  Oratorios,  psalms, 
motets,  choruses  ;  Gesaug  der  Geister  iiber 
den  Wassern,  for  chorus  and  orchestra ; 
Choruses  in  Ajax,  King  (Edipus,  and  (Edi- 
pus  in  Colonos,  by  Sophocles  ;  An  opera 
(MS.)— Mendel ;  Riemann. 

BELLfiROPHON,  opera  iu  five  acts,  text 
by  Thomas  Corneille,  Foutenelle,  and  Boi- 
leau,  music  by  Lulli,  represented  at  the 
Theatre  de  FOpera,  Paris,  Jan.  31,  1679. 
Original  title,  Les  triomphes  de  Bellero- 
phon.  Subject,  the  hero  Bellerophon  who, 
mounted  upon  his  wiuged  steed  Pegasus, 
overcame  the  monster  Chimfera.  It  met 
with  extraordinary  favour,  was  plaj'ed  until 
the  end  of  the  following  October,  and  re- 
produced the  next  year  with  equal  success. 
In  1773  it  was  reset  to  music  by  Berton  and 
Grenier,  but  the  new  version  proved  a  fail- 
ure. The  same  subject  is  treated  iu  Bel- 
lerofoute,  Italian  opera,  music  bj'  Sacrati, 
Venice,  1642  ;  music  by  Araja,  St.  Peters-  I 
burg,  about  1713  ;  music  by  Terradeglias, 
London,  1716  ;  music  by  Giovanni  Ferran- 
dini,  Munich,  1757  ;  music  by  Mysliweczek, 
Naples,  1765 ;  in  Bellerophon,  German  op- 
era, music  by  Graupner,  Hamburg,  1708  ; 
music  by  von  Winter,  Munich,  1782  ;  and  in 
Jobates  und  Bellerophon,  music  by  Keiser, 
Hamburg,  1717. 

BELL'HA\^R,  VINCENZO,  born  in 
Venice  about  1530,  died  there  about  1588 
(?).  One  of  the  organists  at  S.  Marco,  Ven- 
ice, in  1586.  As  he  was  succeeded  by  Gu- 
ami,  Oct.  30,  1588,  it  is  presumable  that  he 


died  about  that  time.  Works  :  Madrigali 
a  cinque  e  .sei  voci,  lib.  i.  (1567) ;  Madrigali 
a  cinque,  lib.  i.;  Madrigali  a  cinque,  lib.  ii. 
(Venice,  1575).  Some  of  his  madrigals  are 
in  the  library  of  the  King  of  Portugal, 
others  in  a  collection  entitled.  Corona  di 
dodici  sonetti  di  G.  B.  Zuccariui  (Vienna, 
1586).— Fetis. 

BELLI,  GIULIO,  lived  at  end  of  the 
16th  aud  beginning  of  the  17th  century. 
He  was  minor  canon  at  Longiano,  maes- 
tro di  cappella  of  the  Church  of  Osimo, 
near  Ancoua,  afterwards  of  the  cathedral 
at  Imola,  and,  according  to  the  title  of  one  of 
his  works,  maestro  di  cappella  at  Venice.  His 
works  consist  of  masses,  psalms,  canticles, 
motets,  aud  madrigals,  published  at  Milan 
and  Venice  from  1586  to  1613,  and  in  the 
Bodenschatz  collection. — Fetis  ;  Schilling. 

BELLINI,  BERNARDO,  Italian  dramatic 
composer,  contemporary.  He  is  author  of 
II  sogno  d'  amore,  opera  semi-seria,  text  by 
Golisciana,  represented  at  the  Casino  Uni- 
one,  Naples,  Jan.  12,  1880. 

BELLINI,  F.,  Italian  composer,  contem- 
porarj'.  He  is  author  of  Si  paga  o  non  si 
paga?,  operetta,  played  at  the  Collegio  della 
Visitatione,  Monaco,  January,  1877. 

BELLINI,  GIUNTI,  Italian  composer, 
contemporary.  He  is  author  of  Raphael, 
grand  opera  in  five  acts,  text  by  Mery,  rep- 
resented at  the  Athcnee,  Paris,  May  28, 
1873. 
BELLINI,  VINCENZO,  born  at  Catania, 
Sicily,  Nov.  3, 1802, 
died  at  Puteaux, 
France,  Sept.  23, 
1835.  His  father, 
an  organist,  per- 
suaded by  a  Sicil- 
ian nobleman,  sent 
tlie  young  Vincenzo 
to  Naples  to  enter 
the  conservator}', 
directed  at  that 
The  boy  accordingly 
entered  a  little  after  Donizetti  had  left  the 
institution,  and  while  Mercadante  was  still 


time  by  Zingarelli. 


152 


BELLINI 


studying  there.  Bellini  was  but  poorly 
taught,  the  Naples  Couservatory  being  in  a 
miserable  condition  at  the  time,  and  Zin- 
garelli  neglecting  his  pupils  greatly.  Very 
likely,  also,  Bellini  did  not  work  very  hard 
at  his  studies,  and  it  is  highly  probable  that 
he  got  the  better  part  of  his  musical  educa- 
tion, like  many  of  his  comjDatriots,  from  the 
perusal  of  standard  scores  of  the  great  mas- 
ters. Throughout  his  career  he  showed 
himself  to  be  a  composer  by  instinct  rather 
than  a  thoroughly  schooled  musician  After 
publishing  in  Naples  some  unimportant  in- 
strumental and  sacred  choral  works,  his  first 
opera,  Adehon  e  Salvina,  was  brought  out 
at  the  little  theatre  of  the  CoUegio  Reale 
di  Musica  in  1824:.  Barbaja,  who  was  pres- 
ent at  the  performance,  immediately  engaged 
him  to  write  an  opera  for  the  San  Carlo,  and 
Bianca  e  Fernando  was  accordingly  given 
there  on  June  30, 1826.  The  principal  parts 
were  sung  by  Rubiui,  Lablache  (who  was 
an  ardent  admirer  of  the  young  composer), 
and  Mme  Meric-Lalande.  The  oj)era  was 
a  great  success  at  the  time,  but  has  since 
been  wholly  forgotten.  Emboldened  by  this 
triumph,  Barbaja  engaged  Bellini  to  write 
another  opera,  this  time  for  Milan,  the 
tenor  part  to  be  especially  written  for  Ru- 
biui. The  composer  accordingly  retired  to 
the  country,  taking  the  great  tenor  with 
him  in  order  to  profit  by  his  advice,  and  the 
result  was  II  Pirata,  which  was  brought  out 
with  overwhelming  success  in  Milan,  1827, 
and  was  soon  given  in  the  principal  Euro- 
pean capitals.  This  work  was  the  key-stoue 
of  Bellini's  great  and  ever-growing  reputa- 
tion. From  this  time  to  his  early  death  he 
pi'oduced  seven  more  operas,  most  of  which 
were  brilliantly  successful.  Bellini's  genius 
may  be  called,  in  a  certain  sense,  "  epoch- 
making."  He  perceived  that  the  persistently 
florid  style  of  Rossini,  which  Pacini,  Carafa, 
Mercadante,  and  the  young  Donizetti  imitat- 
ed blindly,  would  not  long  monopolize  pub- 
lic favour  ;  he  struck  out  in  the  direction  of 
bringing  Italian  melody  back  to  its  pre- 
Rossinian  simplicity  and  dramatic  warmth 


of  expression.  No  man  was  better  fitted  to 
do  this  than  be  ;  for  high  natural  gifts,  ex- 
treme sensibility  of  nature,  and  the  most  ex- 
quisite refinement  of  artistic  perception  all 
contributed  to  make  him  as  great  a  melodist 
as  ever  lived.  His  melodies  quite  equal 
Rossini's  in  beauty,  elegance,  and  finish, 
while  they  are,  as  a  rule,  endued  with  a 
fervid  expressiveness,  a  graceful,  almost  fem- 
inine tenderness  and  pathos  to  which  the 
great  master  of  Pesaro  very  rarely  attained. 
Per  contra,  as  a  harmonist  Bellini  was  little 
more  than  embryonic  ;  not  that  his  har- 
mony is  bad,  but  that  he  habitually  confined 
himself  to  the  very  simplest  and  most  nat- 
ural progressions.  His  almost  total  lack 
of  sound  schooling  made  him  impotent  to 
grapple  successfully  with  any  but  the 
simplest  musical  forms  ;  as  a  contrapuntist 
he  was  absolutely  null,  and  his  mastery  over 
cyclical  forms  was  of  the  very  slightest. 
Yet  it  must  be  said  to  his  praise  that  he 
was  content  to  stay  within  the  limits  of  his 
own  powers,  and  rarely  attempted  harder 
tasks  than  he  could  accomplish.  In  the  art 
of  instrumentation  he  was  a  perfect  child, 
but  here,  as  elsewhere,  the  modesty  of  his 
pretensions  saved  him  from  doing  really 
bad  work.  He  depended  solely  upon  his  me- 
lodic power  and  upon  his  consummate  skill 
in  treating  the  human  voice  ;  indeed,  his  skill 
in  this  imjwrtant  particular  has  never  been 
surpassed.  His  intimacy  with  Rubini,  for 
whom  he  wrote  most  of  his  tenor  parts,  had 
probably  much  to  do  with  the  formation  of 
his  perfect  vocal  style.  Yet  this  influence  was 
unfortunate  in  one  respect ;  Bellini's  tenor 
parts,  written  for  Rubini's  exceptionallj- 
high  counter-tenor,  are  beyond  the  compass 
of  true  tenor  voices.  As  counter-tenor 
voices  have  completely  disappeared  from 
the  stage,  many  arias  and  duets  have  now 
to  be  largely  transposed,  with  vmspeakable 
detriment  to  their  effect.  These  transposi- 
tions are  most  ruinous  just  in  Bellini's 
greatest  masterpiece.  La  Sonnambula,  in 
which  the  high  register  and  peculiar  quality 
of    the    counter-tenor   voice   is   absolutely 


153 


BELLMAN 


necessary  to  give  the  part  of  Elvino,  most  1 1830  (Romeo  et  Juliette,  Paris,  1859)  ;  La 
tender  of  all  complaining  lovers,  its  tvne 'Sonnaiiibida,  Milan,  1831  ;  i\w))ia,  ib.,  1832  ; 
character.  The  melody,  "Ah,  perche  non  ,  Beatrice  di  Teuda,  Venice,  1833  ;  I  Furilani 
posso  odiarti  ?,  "  when  sung  in  B-flat,  as  it  di  Scozia,  Paris,  1835. — Filippo  Cicconetti, 
now  is,  does  not  give  an  approximate  idea  ;  Vita  di  Vincenzo  BeUiui  (Prato,  Alberghetti, 
of  the  effect  it  j)roduces  when  sung  in  the  j  1859) ;  Arthur  Pougin,  Belluii,  sa  vie,  ses  ceu- 
original  key  of  D.  Bellini,  like  many  other  i  vres  (Paris,  Hachette,  1868)  ;  Dwight's  Jour- 
composers,  may  be  said  to  have  had  two  ,  nal,  vii.  58  ;  Fetis,  Supplement,  i.  06. 
manners.  With  Norma  (1832)  he  began  to  !  BELLMAN,  comic  ojjera,  music  by  Franz 
adopt  a  broader  and  grander,  albeit  not  von  Suppe,  rejjresented  at  the  Theater  an 
more  elaborate,  melodic  style.  lu  1833  he  ,  der  Wien,  Vienna,  Feb.  26,  1887. 
went  to  Paris,  where,  under  Rossini's  guid- 1      BELLMAN,  CARL  MICHAEL,  born  at 


ance,  he  began  to  study  the  taste   of  the 
French  public.     After  a  short  trip  to  Lon- 


Stockholm,  Feb.  4,  1710,  died  there,  Feb.  11, 
1795.  The  great  Swedish  poet  deserves  a  place 


don,  whither  he  went  to  superintend  the  ;  also  in  the  history  of  Swedish  music,  having 
production  of  one  of  his  ojseras,  he  returned  set  to  music  his  ingenious  descriptions  of 
to  Paris  and  brought  out  I  Puritani,  a  work  !  popular  life,  embodied  in  the  partly  idyllic, 
in  which  he  forced  himself  to  take  unusual  partly  burlesque,  cycles :  The  Epistles  of 
pains  with  the  instrumentation,  not,  how-  Fredman,  The  Songs  of  Fredman,  and  The 
ever,  with  invariable  success.  After  I  Pu-  Acts  of  the  Bacchanalian  Chapter. — Mendel, 
ritani,  he  was  engaged  to  write  two  more  Ergiinz.,  31. 


operas,  one  for  La  Scala  at  Milan,  the  other 
for  the  Opera  in  Paris  ;  but  he  died  of  dys- 


BELLOLI,  LUIGI,  born  at  Castelfranco, 
Bologna,  Feb.  2,  1770,  died  at  Milan,  Nov. 


entery  before  he  had  more  than  begun  17,  1817.  Virtuoso  on  the  horn,  and  dra- 
either  of  them.  He  was  buried  in  Pure  matic  composer,  entered  the  court  orchestra 
la  Chaise ;  but  the  Italian  Government  af-  at  Parma  in  1790,  and  became  professor  at 

the  Couservatorio,  Milan,  in  1812.  Works : 
II  trionfo  di  Vitellio  Massimo,  La  distru- 
zione  di  Pompejano,  ballets,  Milan,  Scala, 
1803  ;  La  morte  di  Tipoo- Sahib,  Eleazar 
despoto  della  Servia,  ib.,  1801 ;  Sofouisba, 
Andromacca,  ib.,  1806  ;  Le  avventure  di 
Aroldo  il  prode ;  Concertos  for  horn  : 
Method  for  do.— Fetis. 

BELMONTE  UND    CONSTANZE  (Bel- 
mont and  Constance),  German  comic  opera 
in    four  acts,  text   by  Bretzner,  music  by 
Johann  Andre,  first  represented  at  the  Ber- 
liu  Theatre,  May  26,  1781.    This  work,  pro- 
duced with  the  alternative  title  Die  Eutf  iih- 
rung  aus  dem  Serail  (The  Abduction  from 
the  Harem),  was  often  repeated  with  suc- 
cess until  it  was  supplanted  by  Mozart's 
work     entitled,    Entfiihrung,    etc.      The 
-    same  subject,  music  by  Dietter,  was  rep- 
resented at  Stuttgart  about  1786. 
BELSAZAR   (Belshazzar),    oratorio,    by 
Carl  Reinecke. 


terwards  begged  for  his  remains,  and  a 
deputation  from  Catania  went  to  Paris, 
where  the  ceremonj"  of  exhumation  took 
place  on  Sejst.  15,  1876,  and  escorted  the 
body  to  his  native  town,  where  it  was  re- 
buried  with  great  pomp  on  Sept.  23d,  the 
forty-first  anniversary  of  the  comjaoser's 
death.  Works  :  Several  small  compositions 
for  various  instruments,  such  as  flute,  clari- 
net, pianoforte,  etc.,  Naples,  before  1821 ; 
Fifteen  sinfonie  for  orchestra,  ib.;  Is- 
meue,  a  cantata,  ib. ;  Three  Vespers,  two 
Dixit  Dominus,  and  three  Masses,  be- 
sides other  sacred  pieces,  ib.;  Adelson  e 
Salviua,  Najjles,  1821  ;  Bianca  e  Fernando, 
ib.,    1826;    II    Pirata,     Milan,     1827;     La 


^^; 


Siraniera,  ib.,  1829  ;  Zaira,  Parma,  May  16, 
1829  ;  I  Vapuletti  ed  i  Montecchi,    Venice, 


154 


BELSHAZZAR 


BELSHAZZAR,  oratorio,  text  by  Charles 
Jenuens,  but  much  changed  by  Haudel, 
music  by  Haudel,  first  performed  at  the 
King's  Theatre,  London,  March  27,  1745. 
It  was  announced  as  Belteshazzar,  the  name 
given  in  Babylon  to  Daniel  (Dan.,  ii.  2G), 
but  the  name  was  changed  on  the  day  of  the 
performance.  The  dates  on  the  autograph 
MS.,  preserved  in  Buckingham  Palace,  are, 
at  the  beginning,  Aug.  23,  1744: ;  at  end  of 
the  first  part,  Sept.  3,  1744 ;  and  at  end  of 
the  second  part,  Sept.  10,  1744.  The  work 
was  revived  by  the  London  Sacred  Harmonic 
Society,  Mai'cli  19,  1847.  Handel  was  very 
fond  of  this  oratorio,  which  is  undoubtedly 
one  of  his  best.  Characters  represented  : 
Belshazzar,  Nitocris,  Cyrus,  Daniel,  Gobrias, 
Ai-ioch,  Chorus  of  Babj'lonians,  Chorus  of 
Jews,  Chorus  of  Medes  and  Persians.  Pub- 
lished first  by  Walsh  ;  full  score  by  Hiin- 
del-Gesellschaft  (Leipsic,  1864). — Schosl- 
cher,  Handel,  288  ;  Rockstro,  Handel, 
279. 

BENDA,  FRANZ,  born  at  Alt-Benatek, 
Bohemia,  Nov.  25,  1709,  died  at  Potsdam, 
March  7,  178G.  Violinist,  first  instructed 
by  a  blind  Jew,  named  Label,  then  at 
Prague  by  Kisnicek,  afterwards  (1732),  at 
Ruppiu,  pupil  of  Johaun  Gottlieb  Grauu  on 
the  violin,  and  of  Karl  Heiiirich  Graun  and 
Quanz  in  composition.  He  had,  at  that 
time,  joined  the  orchestra  of  the  crown 
prince,  afterwards  Frederick  the  Great, 
whom,  according  to  his  own  statement,  he 
had  accompanied  in  about  50,000  concertos 
during  his  forty  years'  service.  He  formed 
a  number  of  distinguished  pupils,  among 
whom  were  his  youngest  brother,  Josef,  and 
his  two  sons  Friedriohand  Karl.  His  com- 
positions consist  of  symphonies,  many  con- 
certos, solos,  etudes,  of  which  only  twelve 
solos   for   violin    (Paris),    *        ^,  ^ 

solo  for  flute   (Berlin),  and    /MfA\nl^i^ 
three  books  of  violin  stud- 
ies. (Leipsic,  Kiihnel),  are  printed. — AUgem. 
d.  Biogr.,  ii.  315 ;  Ft'tis  :  Gerber, Hist.  Lex.; 
Hiller,      Lebensbeschi-eibungen      (Leipsic, 
1784)  ;  Schilling. 


BENDA,  FRIEDRICH  LUDWIG,  born 

at  Gothaiu  1740,  died  at  Konigsberg,  March 
27,  1793.  Dramatic  composer,  sou  of  Georg 
Benda,  whom  he  took  for  his  model.  In 
1780  he  became  musical  director  of  the 
theatre  at  Hamburg,  where  he  married  the 
singer  Felicitas  Agnesia  Rietz,  with  whom 
he  visited  Berlin  and  Vienna  ;  iu  1783  he 
entered  the  service  of  the  Duke  of  Mecklen- 
burg at  Ludwigslust,  but  conjugal  trouble 
leading  to  a  separation,  he  was  induced  to 
go  as  a  concert  director  to  Konigsberg  in 
1789.  Works :  Three  concertos  for  the 
violin  (Leipsic,  1779)  ;  Der  Barbier  von 
Sevilla,  opera,  given  in  Hamburg,  1782  ; 
Das  Vateruuser,  cantata  (1783) ;  Trauerkan- 
tate  auf  den  Tod  des  Herzogs  von  Mecklen- 
burg (Funeral  Cantata  on  the  Death  of  the 
Duke  of  M.,  1785)  ;  Das  Narrenballet,  1787  ; 
Der  Tod,  cantata  (1788) ;  Die  Religion,  do. 
(1790)  ;  Die  Verlobung,  operetta,  given  at 
Konigsberg,  1790  ;  Louise,  do.,  ib.,  1791 ; 
Mariechen,  do.,  ih.,  1792. — Fetis  ;  Gerber, 
N.  Lex.;  Mendel. 

BENDA,  FRIEDRICH  (WILHELM 
HEINRICH)  born  at  Potsdam,  July  15,  1745, 
died  there,  June  19,  1814.  Dramatic  com- 
poser, son  of  Franz  Benda,  whose  pupil  he 
was  on  the  violin,  although  he  excelled  more 
as  a  pianist  and  iu  composition,  which  he  stu- 
died under  Kirnberger.  In  1789  he  received 
a  gold  medal  from  the  Empress  of  Russia,  for 
whom  he  had  composed  the  opera  Orpheus, 
and  in  179G  a  flattering  letter  with  a  pre- 
cious snufi'-box  from  the  Czar  Paul  I.  Works  : 
Pygmalion,  cantata,  1783  ;  Die  Grazien,  do., 
about  1788;  Alceste,  opera,  178G ;  Die 
Jiinger  am  Grabe  des  Auferstandenen,  ora- 
torio, performed  in  Berlin,  1792  ;  Das  Lob 
des  HOchsten,  do.,  Potsdam,  1806  ;  Das 
Blumenmadchen,  operetta  ;  G  trios  for  violin 
and  violoncello,  op.  1  ;  2  concertos  for  vio- 
lin and  orchestra,  op.  2  ;  3  trios  for  harpsi- 
chord, violin,  and  violoncello,  op.  3  ;  3  con- 
certos for  the  flute,  op.  4  ;  Trios  for  harpsi- 
chord, op.  5  ;  Sonata  for  four  hands,  op.  6  ; 
7  sonatas  for  harpsichord  or  harp,  witli  flute 
or  violin  and  violoncello  (Berlin,  1788-93)  ; 


155 


BENDA 


licieucy. 


Solo  for  flute  and  violoncello  (1792) ;  6  con- 
certos for  violin  ;  6  solos  for  flute. — Fetis  ; 
Gerber,  N.  Lex.;  Schilling. 

BENDA,  GEUEG,  born  at  Jungbuuzlau, 
Bohemia,  iu  1722, 
died  at  KOstritz, 
Nov.  6,  1795.  He 
was  the  third  sou  of 
Haus  Georg  Benda, 
u  u  d  e  r  whom  he 
studied  the  oboe 
and  afterwards  the 
violin  and  piano- 
forte, acquiring  a 
high  degree  of  pro- 
lu  1740  he  went  to  BerUn,  where 
he  completed  his  musical  education,  by 
hearing  the  works  of  Graun  and  Hasse, 
but  he  never  made  any  regular  study 
either  of  harmony  or  counterjioint.  In 
1718  he  became  Kapellmeister  to  the 
Duke  Frederick  III.  of  Saxe-Gotha,  and  in 
1761  he  made  a  journey  to  Italy  at  the 
Duke's  expense,  and  in  company  with  Eust. 
At  Venice  Galuppi's  La  donna  di  governo 
(although  all  Rust's  persuasion  could  not 
make  him  sit  out  the  first  performance)  fi- 
nally attracted  him  so  strongly  by  its  facile 
melody  that  Benda  made  a  serious  change 
in  his  own  style  ;  from  that  time  his  com- 
positions showed  decided  marks  of  Italian 
influence.  In  1766  he  returned  to  Gotha, 
where  he  wrote  his  operas  Giro  ricono- 
sciuto  and  II  buon  marito.  These  were  fol- 
lowed by  several  other  works,  notably 
Ariadne  auf  Naxos  and  Medea.  In  1778 
Benda  ran  away  from  Gotha  and  assumed 
the  direction  of  Schroeder's  Theatre 
in  Hamburg,  a  post  which  he  soon  relin- 
quished to  go  to  Vienna,  whence  he  at 
length  returned  to  Gotha  and  resumed  his 
old  position  iinder  Frederick  HI.  and  his  suc- 
cessor Augustus.  In  1781  he  went  to  Paris 
to  superintend  the  production  of  a  French 
version  of  his  Ariadne,  but  I'eturned  to 
Georgenthal,  a  village  about  nine  miles  from 
Gotha,  disappointed  at  the  failure  of  the  work. 
But  his  nervous  temperament  would  not  al- 


low him  to  stay  long  in  any  one  place  ;  he 
soon  moved  to  Ohrdrufl"  and  thence,  in  1788, 
to  Rouuenburg,  where  he  wrote  his  Benda's 
Klageu.  His  last  place  of  abode  was  KOs- 
tritz. Throughout  life  he  was  noted  for  his 
absence  of  mind,  and  his  fondne.ss  for  the 
2)leasures  of  the  table.  As  a  composer  he 
was  noted  for  the  grace  and  expressiveness 
of  his  melodies  ;  although  he  had  made  no 
serious  studies,  his  harmony  is  generally 
pure  and  correct  ;  he  was,  however,  not 
gifted  with  much  originality,  and  his  works 
are  now  forgotten.  The  important  palace  he 
holds  in  the  history  of  the  German  ojiera  is 
mainly  owing  to  his  melodramas  Ariadne 
auf  Naxos  and  Medea.  The  alternation  of 
set  musical  forms  and  spoken  dialogue  in 
Hiller's  Singspiele  and  Reichardt's  Lieder- 
sjiiele,  which  afterwards  became  the  standard 
characteristic  of  German  opera  (as  it  is  of 
the  French  opera  comique),  seemed  to  Ben- 
da to  be  inartistic  and  dramatically  false. 
The  musical  recitative  of  the  Italian  and 
French  grand  opera  struck  him  also  as  being 
incomj^atible  with  a  national  German  form 
of  musico-dramatic  art.  He  accordingly 
conceived  the  idea  of  confining  the  whole 
musical  part  of  the  opera  to  the  orchestra, 
while  the  dialogue  was  all  spoken  ;  thus  he 
may  be  said  to  have  originated  the  pure 
melodrama,  a  form  of  art  which  was  short- 
lived, to  be  sure,  but  which  attracted  much 
attention  in  his  day.  Published  works  :  Sei 
sonate  per  il  cembalo,  Berlin,  1757  ;  Amyn- 
tas'  Klagen  iiber  die  Flucht  der  Lalage,  can- 
tata, ib.,  1744  ;  T>ev  Dorfjahrmarlt,  operetta, 
Leijisic,  1776,  pianoforte  score  ;  Walder,  op- 
era, Gotha,  1777 ;  Ariadne  auf  Naxos,  duo- 
drama,  Leipsic,  1778,  and  (more  complete 
ed.)  ib.,  1781  ;  Bledea,  melodrama,  ib.,  1778  ; 
Der  Hohbauer,  operetta,  ib.,  1778  ;  Pygma- 
lion, monodrama,  ib.,  1780  ;  Romeo  und 
Julie,  ib.,  1778,  pianoforte  score  ;  Two  con- 
certos for  the  clavichord,  ib.,  1779  ;  Three 
series  of  pianoforte  music,  Leij^sic  and 
Gotha,  1780  and  1781  ;  Collection  of  Italian 
airs,  Leipsic,  1782,  jDianoforte  score  ;  Airs 
and  duets,  ib.,  1789  ;  Cephalus  und  Aurora, 


BENDALL 


cantata,  ib. ;  Benda's  Klagen,  cantata. 
Among  bis  uiipublisbed  MSS.  are  a  great 
deal   of   church   music,    occasional   pieces, 

symphonies,  concertos,  sonatas,  etc.,  and 
the  melodrama  Almauzor. — Leipzig.  AUg. 
Mus.  Zeitung,  xvi.  8G0  ;  iii.  329  ;  Grove,  i. 
221. 

BENDALL,  WILFRED  ELLINGTON, 
born  in  London,  April 
22,  1850,  still  living, 
1888.  Pupil  in  har- 
mony and  comjjosition 
of  Charles  Lucas  and 
Edward  Silas  in  Lon- 
don ;  then  studied  at 
the  Leipsic  Conser- 
vatory in  1872-74 
Work  s — Operettas  : 
Lovers'  Knots,  St. 
George's  Hall,  1880  ; 
1880  ;  Oisera  comique, 
Parizadeh,  St.  James's  Hall,  1884  ;  The 
Lady  of  Shalott,  for  female  voices  ;  The 
Kosiere,  for  do.  ;  Part  songs  and  trios  ; 
Songs  and  duets  ;  Pianoforte  music,  etc. 
BEN  DEL,  FRANZ,  born  at  Schonlinde, 
Bohemia,  March  23, 
1833,  died  in  Berlin, 
July  3,  1874.  Pian- 
ist, j)upil  of  Josef 
Proksch  in  Prague, 
and  of  Liszt  at  Wei- 
inai\  He  won  rejiu- 
tation  as  one  of  the 
most  brilliant  of  mod- 
ern virtuosi  on  con- 
cert toui-s  through 
Order  of  Danebrog,  1863.  Be- 
sides a  mass,  he  composed  etudes,  idyls, 
fantasias,  etc.,  for  pianoforte,  numbering 
118  works,  of  which  the  most  popular  are 


Quid 

1881. 


pro     Quo, 
Cantatas  : 


Germany. 


the  fantasias  on  Bohemian  folk-songs,  o]}. 

8,  45,  47,  and  on  motives  from  Faust,  and 
L'Africaine. — Mendel. 

BENDER,  JACOB,  born  at  Bechtheim, 
near  Worms,  in  1798,  died  at  Antwerp,  Aug. 

9,  1844.  Instrumental  composer,  pupil  at 
the  age  of  five  of  the  organist  M'lser  on  the 
pianoforte,  then  of  his  father  on  the  violin, 
and  at  Worms  of  Alfuldisch  on  several  in- 
struments, among  which  he  cultivated  es- 
pecially the  clarinet.  In  1819  he  became 
bandmaster  of  a  regiment  in  the  Nether- 
lands, and  in  1829  director  of  music  at  St. 
Nicolas,  Belgium,  where  he  founded  a  phil- 
harmonic society,  and  whence  he  went  to 
Antwerp  in  1833  as  director  of  the  Har- 
monie.  He  has  composed  many  concertos 
and  other  jiieces  for  different  instruments, 
besides  fantasias  and  pot-jjourris  for  mili- 
tary band.  His  brother  and  pupil  Valen- 
tin (1800-73)  was  a  distinguished  virtuoso 
on  the  clarinet,  became  musical  director  at 
Brussels,  and  composed  clarinet  and  mili- 
tary music. — Fctis  ;  Mendel. 

BENDING  TO  THE  THRONE  OF 
GLORY,  sopi'ano  air  in  B  minor  for  Susan- 
na, in  Handel's  Stisaniia,  Part  I. 

BENDIX,  JULIUS,  born  iu  Stockholm  in 
1818,  still  living  there,  1888.  Pianist  and 
dramatic  composer,  pupil  of  Friedrich 
Sclmeider  at  Dessau.  His  opera,  The  Fay 
on  the  Rhine,  was  successfully  given  at 
Stockholm. — Mendel. 

BENEATH  THE  CYPRESS'  GLOOMY 
SHADE,  soprano  air  in  D  minor,  alia  sicilia- 
no  (sic),  of  Susanna's  attendant,  in  Handel's 
Suaanna,  Part  H. 

BENDL,  KARL,  born  in  Prague,  x\.i)ril 
IG,  1838,  still  living,  1888.  Dramatic  com- 
poser, pupil  of  Franz  Bla^ek  and  Karl 
Pitsch  at  the  Organists'  School  in  Prague, 
where  he  took  the  first  prize.  In  1864  he 
went  as  second  chef  d'orchestre  to  the  Opera 
at  Brussels,  and,  after  its  failure,  as  chorus- 
master  to  the  German  Opera  at  Amsterdam, 
returned  to  Prague  in  1865,  and  became  di- 
rector of  the  male  singing  society  Hlahol. 
Works  :   Lejla,  Bohemian  ojjera,  given  at 


BENEDICT 


the  National  Theatre,  Prague,  18G8  ;  Bret- 
islav,  do.,  ib.,  1869  ;  Cernahorci,  three  acts, 
ib.,  1881  ;  Karel  Skreta,  comic  opera,  three 
acts,  ib.,  1883  ;  Two  masses  for  male  voices  ; 
Mass  for  mixed  chorus  and  orchestra  ;  Over- 
ture ;  About  two  hundred  Czech  songs  and 
choiTises. — Mendel. 

BENEDICT,  Sir  JULIUS,  born  at  Stutt- 
gart, Nov.  27, 1804, 
died  in  London, 
June  5,  1885.  Dra- 
matic  composer, 
and  pianist,  23uj)il 
of  Louis  Abeille  on 
the  jjianoforte, 
then  at  Weimar 
(1819)  of  Hummel, 
and  at  Dresden 
(1820  of  Weber,) 
with  whom  he  soon  formed  an  intimate 
friendship,  and  visited  Berlin,  Vienna,  and 
other  cities,  to  attend  the  first  representa- 
tions of  Weber's  operas.  On  this  master's 
recommendation  he  was  appointed  Kajjell- 
meister  at  the  Iviirnthnerthor  Theater  in 
Vienna,  1823,  but  two  years  later  he  started 
with  the  impresario  Barbaja  on  a  journey 
through  Germany  and  Italy,  and  at  Naples 
became  maestro  di  cappella  of  the  Teatro 
San  Carlo.  In  1830  he  visited  Paris,  and, 
after  returning  to  Naples,  went  again  in 
1835,  and  in  the  same  year  to  London,  where 
he  soon  became  the  fashionable  professor  of 
the  pianoforte,  and  gave  annual  concerts,  in 
which  the  most  renowned  artists  apipeared. 
Conductor  of  the  ojiera  buffa  at  the  Lyceum 
in  183G,  he  went  in  the  same  capacity  to 
Drury  Lane  Theatre  in  1837,  accompanied 
Jenny  Lind  on  her  tour  through  America  in 
1850-51,  and  soon  after  his  return  became 
orchestra  leader  of  Mapleson's  operatic  en- 
terprise, first  at  Her  Majesty's,  then  at  Drury 
Lane  Theatre.  In  1859  he  was  called  to  Co- 
vent  Garden,  also  took  charge  of  the  Monday 
jjopular  concerts,  conducted  several  music 
festivals  at  Norwich,  and  in  1876-80  the 
Philliarmonic  Society  at  Liverpool.  He  was 
knighted  in  1871,  and  decorated  with  many 


foreign  orders.  Works — Operas  :  Giacinta 
ed  Ernesto,  given  at  Naples,  1829  ;  I  Porto- 
ghesi  in  Goa,  Stuttgart,  1830  ;  Un  anno  ed 
un  giorno,  opera  bufta,  London,  Lyceum, 
1836  ;  The  Gypsi/'s  Warning,  ib.,  Drury 
Lane,  1837  ;  The  Bride>i  of  Venice,  ib., 
1844  ;  The  Crusaders,  ib.,  1846  ;  The  Lake 
of  Gleuaston,  ib.,  Covent  Garden,  1862  ; 
The  Lily  of  Killaruey,  ib.,  1862  (under  the 
title  The  Rose  of  Erin  also  on  the  Conti- 
nent) ;  The  Bride  of  Song,  ib.,  1864.  Can- 
tatas :  Undine,  Norwich,  1860  ;  Richard 
Ca3ur-de-Liou,  ib.,  1863  ;  Cantata  for  the 
return  of  the  Prince  of  W^ales  from  India, 
Portsmouth,  1876.  Oratorios  :  Saint  Ce- 
cilia, Norwich,  1866  ;  Saint  Peter,  Birming- 
ham, 1870  ;  Two  symphonies.  Crystal  Pal- 
ace, 1873-74 ;  Two  concertos  for  pianoforte, 
op.  13  and  29  ;  Concertino  for  do.,  op.  18  ; 

Rondo,    with 

^■Mlul  H€y>^e^    sTsonatTs 

for  piano- 
forte  solo,  and  with  violin  ;  Fantaisies,  ca- 
prices, variations,  etc. — Fetis  ;  do.,  Supjjle- 
ment,  i.  08  ;  Grove  ;  Mendel ;  Riemann. 

BENEDICT,  MILO  ELLSWORTH,  born, 
of  American  parentage,  in  Cornwall,  Ver- 
mont, June  9,  1866,  still  living,  1888.  Pi- 
anist ;  studied  in  Boston  the  pianoforte 
under  Carlyle  Petersilea,  and  theory  and 
composition  under  John  K.  Paine.  In  1883 
-84  he  was  in  Europe,  spent  three  months 
with  Liszt  at  Weimar,  visited  Berlin,  Leip- 
sic,  and  Paris,  among  other  musical  centres, 
and  was  favourably  received  bj'  Rubinstein, 
Scharwenka,  L.  Emil  Bach,  and  otlier  mas- 
ters. Since  his  return  to  America  he  has 
lived  in  Boston  as  a  teacher  of  the  pia- 
noforte. Works  :  6  Cornwall  dances,  op. 
1,  1885  ;  Polonaises,  op.  2  and  op.  3  ;  Piano- 
forte concerto,  t'tudes,  toccata,  scherzo, 
mazurka,  etc.,  in  MS. 

BENEDICTUS.     See  Ihicis. 

BENEDICTUS  (Benedict,  Benoit)  OF 
APPENZELL,  born  at  Appenzell,  Switzer- 
land, lived  about  the  middle  of  the  16th 
century.     He  must  not  be  confounded  with 


1S8 


BENELLI 


Benedictus  or  Benoit  Ducis  of  Belgium, 
although  some  authorities,  viz.,  Gesuer, 
Gerber,  Walther,  Kiesewetter,  aud  Schilling 
have  tried  to  jJrove  their  identity.  He  was 
master  of  the  children's  choir  at  Brussels 
from  1539  to  1555.  The  only  works  which 
are  handed  down  also  record  his  name  and 
birthplace  :  Liber  primus  ecclesiasticarum 
eautionum  quatuor  voc.  quas  vulgo  moteta 
vocant,  tarn  ex  veteri,  quam  novo  Testamen- 
to  ab  optimis  quibusque  hujus  letatia  musi- 
cis  compositarum,  AutwerpiiB,  1553.  Other 
collections  bear  the  name  Benedictus  with- 
out any  designation  ;  they  number  12,  ex- 
tending from  1400  to  1569.— Fetis ;  Ger- 
ber ;  Larousse  ;  Mendel ;  Schilling. 

BENELLI,  ANTONIO  PEREGEINO, 
born  at  Forli,  Romagua,  Hept  5,  1771,  died 
at  BOruichau,  Saxony,  Aug.  16,  1830.  Com- 
poser and  dramatic  singer,  pupil  of  Fathers 
Martini  (?)  and  Blattei ;  obtained  au  en- 
gagement as  first  tenor  at  the  Teatro  San 
Carlo,  Najjles,  1790,  then  in  London,  1798, 
aud  at  Dresden  in  1801,  where  he  sans  uu- 
til  1822,  when  he  lost  his  voice  and  was 
pensioned,  and  soon  after  was  appointed, 
through  Spontini's  influence,  vocal  instruc- 
tor at  the  Opera  in  Berlin.  Some  malignant 
criticisms  of  his  patron's  ojjeras,  which  he 
published  in  Leipsic,  led  to  his  dismissal 
in  1829,  when  he  retired  to  Dresden,  aud 
soon  after  to  Bijrnichau.  Works :  Sonata 
for  pianoforte  for  four  hands;  Rondo  for 
pianoforte ;  Pater  noster  for  five  voices ; 
Salve  Regiua  for  four  voices  and  orchestra  ; 
Stabat  mater  for  do.;  II  giorno  natalizio, 
cantata  for  five  voices  aud  i^iauoforte  ;  1 
nocturnes  for  four  voices  ;  Arias,  cavatinas, 
etc.;  Vocal  method  (Dresden,  1819).— Fetis  ; 
Mendel. 

BENESCH  (Benes),  JOSEF,  born  at 
Batelov,  Moravia,  Jan.  11,  1793,  died  (?). 
Violinist,  first  instructed  by  his  father,  a 
tailor  and  able  amateur  violinist,  then  in 
the  Premonstratensian  monastery  at  Iglau, 
and  finally  pupil  of  Schlesinger  in  Vienna  ; 
played  in  the  theatre  orchestras  at  Baden 
and  Presburg,  and  in  1819  started  on  a  con- 


cert tour  through  Italy ;  having  returned 
to  Vienna  in  1822,  he  was  called  to  Lai- 
bach,  Carniola,  in  1823  as  Conzertmeister, 
orchestra  leader,  and  jirofessor  of  violin  of 
the  Philharmonic  Society  ;  once  more  in 
Vienna,  1828,  he  became  a  member  of  the 
imperial  orchestra  in  1832.  Among  his 
compositions  ai'e  to  be  noticed :  2  polo- 
naises for  violin,  with  accompaniment  of 
two  violins,  viola,  aud  bass,  op.  6  and  7  ; 
Grandes  variations  on  an  original  theme, 
with  quartet ;  Variations,  concertinos,  etc.  ; 
German  songs. — Fetis  ;  Mendel. 

BENEVOLI,  ORAZIO,  born  in  Rome  m 
1602,  died  there,  June  17,  1G72.  The 
natural  son  of  Duke  Albert  of  Lorraine, 
he  studied  under  Vincenzo  Ugolini,  but 
not  under  Beruardio  Nanini  (Fctis,  Biog. 
Univ.,  ii.  135,  note).  His  first  official  posi- 
tion was  that  of  maestro  di  cappella  at 
S.  Luigi  de'  Francesi,  Rome,  which  he  re- 
linquished in  1643  to  enter  the  service  in 
Vienna  of  the  Archduke  of  Austria.  On  his 
return  to  Rome  he  resumed  his  old  post, 
but  accepted  a  similar  one  at  Sta.  Maria 
Maggiore  on  Feb.  23,  1646.  On  Nov.  7  of 
the  same  year  he  succeeded  Virgilio  Mau- 
zocchi  as  maestro  di  cappella  of  the  Vatican 
Chajjel,  and  retained  the  position  until  his 
death.  He  was  a  man  of  the  highest  per- 
sonal character,  but  died,  as  he  had  lived, 
in  great  poverty  ;  he  was  buried  in  S.  Spi- 
rito  di  Sarsia,  near  the  Vatican.  Benevoli 
may  be  regarded  as  the  most  important 
figure  of  the  Roman  school  towards  the  de- 
cline of  its  "  great  "  period,  at  a  time  when 
writing  a  cappella  for  a  large  number  of  real 
voices  was  in  vogue,  a  style  which,  fifty  years 
before,  was  more  characteristic  of  the  Ve- 
netian than  of  the  Roman  school.  Indeed, 
writing  for  sixteen  real  voices  may  be  called 
Beuevoli's  familiar,  every-day  manner.  Yet 
easily  clear  and  finely  wrought  as  his  works 
in  this  form  are,  his  chief  fame  is  that  of 
being  the  perfecter  of  the  jjolychoric  style 
of  a  cappella  comjJosition.  He  excelled 
in  writing  for  four  and  six  independent 
choruses  [i.e.,  sixteen  and  twenty-four  real 


159 


BENINCORI 


parts),  and  was  one  of  the  first  to  attempt 
(in  a  mass  jjerformed  on  Aug.  4,  1650,  in 
Sta.  Maria  sojira  Minerva)  the  feat  of  writ- 
ing for  twelve  choruses  (forty-eight  real 
voices).  Benevoli  did  not  always  contine 
himself  to  a  cappella  writing  ;  he  was  one 
of  the  chief  pioneers  in  the  style  of  choral 
composition  with  obligato  instrumental  ac- 
companiments. His  most  noteworthy  work 
in  this  more  modern  stylo  is  his  mass,  writ- 
ten for  the  consecration  of  the  Salzburg 
Cathedi-al  (Sept.  2-4,  1G28),  the  score  of 
which  (written  on  54  staves)  is  preserved  in 
the  Mozarteum  in  that  city  ;  separate  parts 
are  in  the  Corsiniana  at  Rome.  Benevoli  is 
to  be  admired  not  only  as  a  phenomenal 
contrapuntist,  but  as  a  composer  of  real 
genius  and  great  elevation  of  style.  Most 
of  his  works  are  still  in  MS.  in  the  archives 
of  the  Vatican  Basilica  and  the  Corsiniana 
(manj'  of  the  latter  in  a  very  fragmentary 
condition).  The  mass,  In  diluvio  multarum 
aquarum  (4  choruses  and  organ),  is  i)ub- 
lished  (Leipsic,  Breitkopf,  1769).  The  sec- 
ond Kyrie  from  the  same  is  in  P.  Martini's 
Treatise  on  Fugued  Counterpoint,  p.  122 ; 
Sanctus  and  Dona  nobis  for  4  choruses 
(orchestral  jjarts  added  by  a  later  hand), 
(Breitkopf,  1769)  ;  Mass,  Si  Deus  jiro  nobis, 
for  4  choruses,  in  the  library  of  the  £cole 
Nationale  de  Musique,  Paris  (the  Kyrie 
in  Fetis's  counterpoint,  Paris,  Troupenas, 
1828.)  Fragments  of  other  works  are  in  P. 
Paolueci's  Arte  pratiea  di  contrapunto,  vol. 
iii. — Ambros,  iv.  104. 

BENINCORI,  ANGELO  MARIA,  born  at 
Brescia,  Italy,  March  28,  1779,  died  at  Belle- 
ville, near  Paris,  Dec.  30,  1821.  Dramatic 
composer,  pupil  of  Ghiretti,  Rolla,  and  Cima- 
rosa.  He  finished  his  musical  education  at 
the  age  of  seventeen,  and  went  to  Spain  in 
1797  with  his  brother,  also  a  musician,  who 
died  there,  and  left  him  without  resources. 
On  his  return  to  Italy  he  brought  out  his  op- 
era, Nitteti,  there,  and  soon  after  in  Vienna, 
where  he  became  a  follower  of  Haydn.  In 
1803  he  settled  in  Paris,  where  his  quartets 
had  been  published.     Failing  in  repeated 


efforts  to  bring  out  some  of  his  operas,  and 
only  moderately  successful  as  a  teacher,  in 
spite  of  the  variety  of  his  musical  accom- 
plishments, he  seemed  about  to  score  a  tri- 
umj)h  when  commissioned  to  comjjose  three 
acts  of  the  opera  Aladin,  left  unfinished  by 
Isouard  in  1818,  but  he  died  six  weeks  be- 
fore the  rej)resentation  of  the  work,  which 
obtained  a  brilliant  success.  Works  :  Ga- 
latee  ou  le  nouveau  Pygmalion,  opera,  1804  ; 
Hesione,  do.  (1807) ;  Les  jjarents  d'un  joui-, 
operette,  given  in  Paris,  Thcati'e  Feydeau, 
1815 ;  La  promesse  de  mariage  ou  le  re- 
tour  au  hameau,  do.,  Opera  Comique,  1818  ; 
Les  epoux  indiscrets,  do.,  Paris,  1819  ; 
Quartets  for  string  instruments  ;  Masses ; 
Litanies  ;  Hymns  ;  etc. — Fetis. 

BENIOWSEI ;  or,  Les  Exiles  du  Kam- 
tschatka  (The  Exiles  of  Kamchatka),  opera  in 
three  acts,  text  by  Alexandre  Duval,  music 
by  Boieldieu,  first  represented  at  the  The- 
atre Favart,  Paris,  June  8,  1800.  Subject 
from  "Les  Memoires  de  Beniowski,"  a 
Hungarian  chevalier,  who,  a  general  in  the 
Polish  service,  falls  into  the  hands  of  the 
Russians  and  is  exiled  to  Kamchatka. 
This,  though  not  one  of  the  composer's 
best  works,  met  with  a  good  reception  and 
was  much  parodied.  It  was  successfully 
revived  at  the  Opera  Comique,  July  20, 
1824.— Pougin,  Boieldieu,  60. 

BEN  NET,  JOHN,  English  composer  of 
the  latter  part  of  the  16th  and  early  part  of 
the  17th  centuries.  He  was  possibly  an 
organist,  as  he  left  some  anthems  and  organ 
pieces  in  MS.  "Works :  Madrigals  to  four 
voyces  (1599)  ;  All  creatures  now  are  merry 
minded  (Morley's  Collection,  The  Tri- 
umphes  of  Oriana,  1601) ;  5  compositions 
in  parts  (Thomas  Ravenscroft's,  Briefe  Dis- 
course, etc.,  1614). — Hawkins,  Hist,  of  Mu- 
sic, iii.,  394;  Grove;  Fetis. 

BENNET,  SAUNDERS,  born  in  England 
in  last  quarter  of  the  ISth  century,  died  in 
1809.  Organist  of  church  at  "Woodstock. 
He  composed  anthems,  songs,  and  glees, 
and  sonatas,  rondos,  and  variations  for  or- 
gan and  pianoforte. 


160 


BENNETT 


BENNETT,  ALFRED,  born  iu  Chiches- 
ter, England,  1805,  died  in  Oxford,  1830. 
Organist,  son  and  pupil  of  Thomas  Bennett. 
He  became  organist  of  New  College,  Ox- 
ford, and  of  the  TJuiversitj-  in  1825,  and  re- 
ceived the  degree  of  Mus.  Bac.  Works: 
Church  Services  and  Anthems ;  Chants 
(with  William  Marshall,  1829)  ;  Songs. 

BENNETT,  THOMAS,  born  in  England 
in  1779,  died  at  Chichester,  March  21, 1848. 
He  was  a  chorister  of  Salisbury  Cathedral, 
where  he  studied  under  Joseph  Corfe  ;  be- 
came organist  of  St.  John's  Chapel,  Chi- 
chester, and  in  1803  of  Chichester  Cathedral. 
Works :  Introduction  to  Art  of  Singing 
(London,  no  date)  ;  Sacred  Melodies  (do.)  ; 
Cathedral  Selections,  anthems,  chants,  etc. 
(do.). 

BENNETT,  WILLIAM,  born  near  Teign- 
mouth,  England,  in  1707,  died  in  18 — . 
Organist,  pupil  at  Exeter  of  Hugh  Bond 
and  William  Jackson,  and  iu  London  of 
Johann  Christian  Bach  and  of  Schroeter.  In 
1793  he  became  organist  of  St.  Andrew's 
Church,  Plymouth.  Songs  and  Glees  (Lou- 
don, 1799) ;  Anthems,  and  pianoforte  and  ' 
organ  music. 

BENNETT,  Sir  WILLIAM  STERN 
DALE,  born  iu  Shef- 
field, England,  Ajiril 
13,  1816,  died  in  Lon- 
don, Feb.  1,  1875. 
His  father,  an  organist, 
died  when  he  was 
three  years  old,  and 
his  education  was 
cared  for  by  his  grand- 
father. At  the  age  of 
eight  (1824)  he  en- 
tered the  choir  of  King's  College  Chapel  at 
Cambridge,  where  his  grandfather  lived,  and 
in  1820  was  sent  to  London  to  study  at  the 
Royal  Academy  of  Music.  Here  he  studied 
composition  under  Lucas  and  Dr.  Crotch, 
and  pianoforte,  first  under  W.  H.  Holmes, 
then  under  Cipriani  Potter.  His  first  com- 
position of  note  was  his  D  minor  pianoforte 
concerto,  op.  1,  written  in  1832  and  played 


by  himself  at  the  prize  concert  at  the  Acad- 
emy in  1833.     Mendelssohn  was  jwesent  and 
greatly  encouraged  the  young  composer.   In 
1836  the  firm  of  Broadwood  offered  to  pay 
his  expenses  for  a  year's  study  iu  Leipsic  ; 
here  he  came  under  the  influence  of  Men- 
delssohn and   Schumann,  both    of    whom 
held  his  talent  in  high  esteem.    He  came 
back  to  London  after  the  specified  year,  but 
returned  to  Leipsic  for  another  year's  study 
in  1840.     In  1843  he  began  to  give  success- 
ful  chamber   concerts  in  London,   and  in 
1844  married  Mary  Anne  Wood,  daughter  of 
a  captain  in  the  Navy.     In  1849  he  founded 
the  London  Bach  Society,   one  of  the  re- 
sults of  which  was  the  first  performance  in 
England  of  the  Matthew-Passion,  April  6, 
1854.     In  1853  he  was  offered  the  conduc- 
torship   of   the    Leipsic   Gewandhaus  eon- 
certs,    and  in  1856  he  was  elected  to  the 
chair  of  musical  jjrofessor  at  the  University 
of  Cambridge,  and  shortly   afterwards  re- 
ceived the  degree  of  Mus.  Doc.     In  1856  he 
was  also  made  i^ermanent  conductor  of  the 
Philharmonic  Society,  a  jjost  which  he  re- 
signed ten  years  later  to  become  princijial 
of  the  Royal  Academy  of  Music.    Li  1867 
he  received  the  Cambridge  degree  of  M.A., 
and  a  salary  of  £100  was  joined  to  his  pro- 
fessorship.    In  1870  the  University  of  Ox- 
ford conferred  upon  him  the  honorary  de- 
gree of  D.C.L.     He  was  knighted  in  1871, 
and  a  scholarship  was  founded  at  the  Royal 
Academy  of  Music  out  of  the  subscriptions 
to  a  public  testimonial  to  him  in  St.  James's 
Hall  in  1872.     He  died  after  a  short  illness, 
and   was   buried    in   Westminster   Abbey. 
Bennett  has  been  called  the  first  English 
composer   of   individual  genius  since  Pur- 
cell  ;  he  certainly  was  the  first  English  com- 
poser who  got  any  real  recognition  in  Ger- 
many.    He  has  generally  been  considered 
as  a  follower  and  imitator  of  Mendelssohn, 
although  the  best  English  critics  deny  this. 
Yet  he  may  truly  be  said  to  have  held  more 
by  Mendelssohn  than  by  Schumann.     His 
compositions   are  noteworthy  for  an  easj' 
grace,  refinement,  and  elaborate  perfection 


161 


BENOIST 


of  style.  His  best-known  works  tire  tlie 
concerto  in  F  minor,  op.  19 ;  the  piano- 
forte sextet,  op.  8  ;  the  overture,  The  Nai- 
ads ;  the  sonata,  The  Maid  of  Orleans  ;  and 
the  oratorio,  The  Woman  of  Samaria.  His 
influence  upon  music  iu  England,  nota- 
bly upon  the  introduction  and  study  of 
Bach's  works,  was  very  strong  and  whole- 
some. Works  :  The  Woman  of  Samaria,  ora- 
torio, for  solo  voices,  chorus,  and  orchestra, 
op.  44,  Birmingham  Festival,  1867  ;  The  May 
Queen,  a  pastoral  cantata  (Chorley),  for  do., 
023.  39,  Leeds  Musical  Festival,  1858  ;  Jlusic 
to  Ajax  (Sophocles),  op.  45  ;  Ode  (Tenny- 
son), for  the  opening  of  the  International 
Exhibition,  18G'2,  oj).  40  ;  Cambridge  Instal- 
lation Ode  (Kingsley),  1862,  op.  41 ;  Sym- 
phony in  G  minor,  op.  43  ;  4  Overtures, 
Parisina,  op.  3  (1834-35),  The  Naiads,  op. 
15  (1836),  The  Wood  Nymph,  op.  20  (1840), 
I'aradisc  and  the  Peri,  op.  42  (1862)  ;  4  con- 
certos for  pianoforte  and  orchestra,  in  D 
minor,  oi3.  1,  in  E-flat,  op.  4,  in  C  minor, 
op.  9,  in  F  minor,  op.  19  ;  CajJrice,  in  E, 
for  do.,  op.  22  ;  Sextet  for  pianoforte  and 
strings,  op.  8 ;  Trio  for  do.,  op.  26  ;  Sonata 
for  violoncello  and  pianoforte,  op.  32  ;  for 
pianoforte  solo  ;  2  sonatas,  op.  13,  and  the 
Maid  of  Orleans,  ojj.  46  ;  Caj^riccio,  op.  2  ; 
3  Musical  Sketches— Lake,  Millstream,  and 
Fountain,  op.  10  ;  6  studies  iu  Caisriccio 
form,  op.  11  ;  3  Impromptus,  op.  12  ;  3 
Romances,  op.  14  ;  Fantasia,  op.  16  ;  3  Di- 
versions (4  hands),  op.  17  ;  Allegro  grazioso, 
op.  18  ;  Suite  de  Pieces,  op.  24  ;  Scherzo, 
op.  27  ;  Introductione  e  Pastorale,  etc.,  op. 
28  ;  Two  Studies — L'  Amabile  e  1'  Appas- 
sionata,  op.  29  ;  Tema  e  Variazioni,  op.  31  ; 
Preludes  and  Lessons,  60  pieces,  oj).  33  ; 
Kondeau — Pas  triste,  pas  gai,  oj5.  34  ;  Flow- 
ers of  the  Mouth,  op.  36  ;  Rondeau  a  la 
PolouaLse,  op.  37  ;  Toccata,  op.  38  ;   Sona,- 

tina  in  C  ; 
M  i  nuetto 
e  X  p  r  e  s  - 
sivo ;  Prse- 


ludium  ;  Eoniance — Genevieve  ;  Songs,  An- 
thems, and  Four-i^art  Songs. — Leipsic  Sig- 


nale,  March,  1875,  No.  16  ;  London  Mus. 
Times,  March  1,  1875  ;  Dwight's  Journal, 
xxxiv.  393,  409 ;  London  Mus.  Standard, 
new  series,  viii.  88,  104  ;  ix.  134  ;  Grove,  i. 
224  ;  Fetis ;  do.,  Supplement,  i.  69  ;  Schu- 
mann, Music  and  Musicians,  i.  140  ;  Hiller, 
Musikalisches  und  Personliches,  156. 

BENOIST,  FKAN^'OIS,  born  at  Nantes, 
France,  Sept.  10,  1794,  died  in  Paris,  May, 
1878.  Dramatic  composer  and  organist, 
pupil  in  1811  at  the  Paris  Conservatoire,  of 
Catel  in  harmony,  and  of  Adam  on  the  pi- 
anoforte, obtained  in  the  same  year  the  first 
prize  in  harmony,  and  in  1814  in  pianoforte 
playing.  After  his  cantata  Enone  had  been 
crowned  by  the  Institute  of  France  in  1815, 
he  spent  three  years  in  Rome  and  Naples, 
and  on  his  return  early  in  1819  was  made 
organist  of  the  royal  chapel,  and  soon  after 
professor  of  the  organ  at  the  Conservatoire, 
whence  he  retired  in  1872.  He  was  also 
after  1840  chef  du  chant  at  the  Opera. 
L.  of  Honour,  1851.  Works :  Felix  et  Le- 
onore,  opera,  given  in  Paris,  Theatre  Fey- 
deau,  1821  ;  La  Gipsy,  ballet  (with  Marliani 
and  Ambroise  Thomas),  Opera,  1839  ;  Le 
Diable  amoureux,  do.  (with  Reber),  ib., 
1840  ;  L'Apparition,  opera,  ib.,  1848  ;  Nisi- 
da  ou  les  Amazones  des  Ayores,  ballet,  ib., 
1848  ;  Paquerette,  do.,  ib.,  1851  ;  Requiem 
mass  for  three  men's  voices  and  a  child's 
voice,  with  organ  ad  libitum  (Paris,  Veuve 
Canaux) ;  Compositions  for  the  organ  under 
the  title,  Bibliotheque  de  I'organiste  (ib.). 
— Fetis  ;  do..  Supplement,  i.  69  ;  Riemann. 

BENOlT,  PETER  (Ll^:ONARD  LEO- 
POLD), born  at  Haerlebeke,  West  Flanders, 
Aug.  17,  1834,  still  living,  1888.  Dramatic 
composer,  jjupil  of  Fetis  at  the  Brussels 
Conservatoire,  where  he  won  the  second 
prize  in  1853  and  the  first  in  1854.  Two 
years  later  he  wrote  the  music  of  several 
Flemish  melodramas  for  the  Theatre  du 
Pare,  of  which  he  was  made  chef  d'orches- 
tre  in  December,  1856.  Having  obtained 
the  grand  prize  in  1857  for  his  cantata  Le 
Meurtre  d'Abel,  performed  at  the  Conserva- 
toire, he  studied  several  months  at  Leipsic, 


162 


BENONI 


and  then  visited  Dresden,  Prague,  Munich, 
and  Berlin.  After  his  return  to  Belgium 
he  brought  out  a  solemn  mass  at  Brussels 
and  at  Ghent,  and  in  18G1  went  to  Paris, 
where  his  French  opera,  Lo  Roi  des  Aulnes, 
was  accepted  at  the  Theatre  Lyrique  ;  while 
waiting  for  its  performance  (which  never 
took  place),  he  conducted  (18G2)  the  or- 
chestra at  the  Bouflfes  Parisiens,  returned 
in  the  same  year  to  Brussels,  and  in  1867 
became  director  of  the  Conservatory  (Flem- 
isli  School  of  Music)  at  Antwerp.  In  this 
f)ositiou  he  has  since  been  most  active  as 
the  chief  promoter  of  a  national  tendency 
in  music,  making  the  Flemish  language 
and  Flemish  traditions  the  basis  for  all  his 
compositions.  Officer  of  Order  of  Leojjold. 
Works  :  De  belgische  Natie,  melodrama, 
given  at  Brussels,  Theatre  du  Pare,  185G  ; 
Het  dorp  iu't  gebergte,  comic  opera,  ib., 
1856  ;  Ave  Maria  for  eight  voices  in  two 
choruses,  performed  at  the  Cathedral  in 
Berlin,  1858  (Berlin,  Bote  &  Bock) ;  0  mel- 
odies for  a  single  voice  with  pianoforte 
(Brussels  and  Mainz,  Schotfc  Freres) ;  Douze 
pensees  na'ives,  for  do.  (ib.) ;  12  motets  (ib.)  ; 
Petite  cantata  de  Noi-1,  1860  ;  Te  Deum, 
1863  ;  Requiem  Mass,  1863  ;  Quadrilogie  (a 
combination  of  the  last  three  works  and  his 
solemn  mass),  performed  at  AutwerjJ,  1864  ; 
Concerto  for  pianoforte  with  orchestra,  do. 
for  flute  with  orchestra,  Lucifer,  Flemish 
oratorio,  Brussels,  1866  ;  Isa,  Flemish  op- 
era, ib.,  1867  ;  De  Schelde,  oratorio,  1860  ; 
Cantata,  1869  ;  L'Eglise  militantc,  souf- 
frante  et  triomphante,  religious  drama  for 
soli  and  chorus  with  organ,  violoncelli, 
double-basses,  tinimpets,  and  trombones, 
Antwerp,  1871 ;  De  Oorlog  (War),  oratorio, 
ib.,  1873  ;  La  Colonne  du  Cougres,  cantata, 
Brussels  ;  Cantata  in  3  parts,  Liege  ;  Pro- 
mt'thce,  oratorio,  Ghent ;  Hymne  a  I'Har- 
monie,  Antwerp  ;  Chant  de  la  Lys,  cantata, 
Courtrai,  1875  ;  De  Maeyers,  choral  sym- 
phony ;  Kinder-cantate  ;  Music  for  Char- 
lotte Corday,  historical  drama  by  Ernest 
Van  der  Ven,  Antwerp,  Flemish  Theatre, 
1876 ;   besides    ballades,  Lieder,    choruses 


without  accompaniment,  a  collection  of  20 
motet.s,  with  oi-gan  (Brussels).  He  has  also 
written  articles  for  the  Messager  des  Arts, 
Le  Guide  Musical,  and  L'Art  Universel. 
— Fetis  ;  do.,  Supplement,  i.  70  ;  Riemauu  ; 
Viotta. 

BENONI,  JULIUS,  born  at  Stfelohostic, 
Bohemia,  in  1833,  still  living,  1888.  Dra- 
matic composer,  and  pianist,  first  instructed 
at  Silberberg,  Bohemia,  whence  he  was 
taken  to  Vienna  by  the  Countess  von  Taafife, 
and  educated  with  her  children  ;  showed 
early  a  remarkable  talent  for  improvisation, 
which  won  him  the  favour  of  Prince  Metter- 
nich.  He  played  in  a  concert  at  court  in 
1843,  then  studied  composition  under  Doni- 
zetti and  Simon  Seehter.  In  1855  he  gave 
uj)  his  musical  career,  studied  farming,  and 
assumed  the  administration  of  an  estate  in 
Bohemia.  Works — Ojieras  :  Die  Wunder- 
blume,  given  in  Vienna,  Palace  of  Count 
Taaffe,  1847  ;  Emma,  ossia  II  Protettore  in- 
visibile,  ib.,  Kiirnthnerthor  Theater,  1851  ; 
Giovanna  da  Ponte,  Prague,  1855  ;  Vocal 
Mass,  Vienna,  1843  ;  Ave,  regina  coelorum, 
ib.,  1843  ;  Lied  vor  der  Schlacht,  chorus  with 
orchestra  ;  Songs  and  romances. — Mendel  ; 
Wurzbacli. 

BE  NOT  AFRAID.  See  Fiirchte  dich 
nicht. 

BENTAYOUX  (Ben-Tayoux),  FRP]- 
DERIC,  born  at  Bordeaux,  June  14,  1840, 
still  living,  1888.  Dramatic  composer,  pu- 
pil at  the  Conservatoire,  Paris,  of  IMarmon- 
tel  on  the  pianoforte,  of  Emile  Durand  in 
solfeggio,  of  Colin  and  Bazin  in  harmony, 
and  of  Carafa  in  comjiosition.  Works — Op- 
erettas :  Pa-tchou-ly,  given  in  Paris,  Folies 
Bergcre,  1875  ;  Bobiue,  ib.,  1876  ;  Le 
Dompteur  de  Bougival,  Folies  Marigny, 
1875  ;  Many  pianoforte  pieces  of  light  cali- 
bre, and  romances  and  chansons. — Fvtis, 
Supplement,  i.  72. 

BENTLEY,  JOHN  MORGAN,  born  in 
Manchester,  England,  Sept.  3,  1837,  still 
living,  1888.  Organist  of  St.  Philip's,  Sal- 
ford,  1S55  ;  St.  Stephen's,  Manchester, 
1860  ;  .St.    Saviour's,    ib.,    1866  ;   Bowdou 


163 


BENVENUTI 


Parish  ChurcL,  18G8  ;  and  of  Cheadle  Ab- 
bey, 1877.  He  has  been  the  conductor  of 
several    musical   so- 


cieties, and  in  1870 
established  the  Ac- 
ademy of  Music,  St. 
Ann's,  Manchester. 
In  1877  he  received 
the  degree  of  Mus. 
Bac,  and  in  1879, 
IMus.  Doc,  Cam- 
bridge. In  1881 
he  was  appointed 
local  examiner  for  the  Eoyal  Academy  of 
Music.  Works  :  Gethsemane,  dramatic  can- 
tata (Mus.  Bac.  exercise),  1877  ;  AVhat  is 
Life  ?,  oratorio  (Mus.  Doc.  do.),  1879  ;  Yule- 
tide,  cantata  for  mixed  voices  (Hutchings 
&  Komer)  ;  The  Golden  Butterfly,  cantata 
for  female  voices  (Hutchings)  ;  Horte  Sacrte, 
series  for  violin  and  pianoforte  ;  The  Two 
Violinists,  duets  for  violins,  with  pianoforte 
accompaniment  ;  Vesper  Canticles  ;  Sym- 
phony for  full  orchestra  (MS.)  and  other 
orchestral  works  ;  Songs,  etc. 

BENVENUTI,  NICOH"),  born  at  Pisa, 
May  10,  1783,  died  (?).  Dramatic  composer, 
pu^iil  of  his  father,  whom  he  succeeded  as 
maestro  di  cappella  of  the  Cathedral  .at  Pisa. 
Works :  6  masses  for  4  and  6  voices,  with 
orchestra  ;  2  Vespers  ;  II  ratto  di  Proser- 
pina, cantata  for  3  voices  with  chorus,  Pisa, 
1806  ;  Ariana  e  Teseo,  ib.,  1810  ;  II  Werter, 
farce,  ib.,  1811  ;  12  symphonies  for  grand 
orchestra  ;  Sonatas  for  pianoforte  ;  do.  for 
organ  ;  Variations,  etc. — Fetis. 

BENVENUTI,  TOMMASO,  born  in  Italy 
about  1832,  still  living,  1888.  Dramatic 
composer,  author  of  the  following  operas  : 
Valenzia  Candiano,  given  at  Mantua,  18.50  ; 
Shakespeare,  Parma,  18G1 ;  La  Stella  di  To- 
ledo, Milan,  Teatro  della  Canobbiana,  1861. 
— Fetis,  Supplement,  i.  72. 

BENVENUTO  CELLINI,  French  opera 
in  two  acts,  text  by  Leon  de  Wailly  and 
Auguste  Bai-bier,  music  by  Hector  Berlioz, 
represented  at  the  Academie  Royale  de  Mu- 
sique,  Paris,  Sept.  3,  1838.     It  was  received 


with  general  reprobation  by  the  critics  and 
was  withdrawn  after  three  representations. 
It  was  given  at  Covent  Garden,  London,  in 
three  acts,  June  2.5,  1853.  The  second 
overture  to  this  opera  is  now  called  Le  Car- 
naval  romain.  The  same  subject  has  been 
treated  by  Franz  Lachner,  Munich,  1849  ; 
Louis  Schlosser,  Darmstadt,  1815  ;  by  Leo 
Kern,  text  by  Prechtler,  Pesth,  1851  ;  by 
Orsini,  Naples,  1875  ;  and  by  Bozzauo,  text 
by  Perosio,  Genoa,  1877. 

BENZ,  JOHANN  BAPTIST,  born  at 
Lauchheim,  Wiirtemberg,  June  17,  1807, 
still  living,  1888.  Church  compioser,  first 
instructed  by  Dreger,  choir  director  at 
EUwangen,  then  travelled  with  a  family  as 
tutor,  and  in  1831  became  instructor  of 
German  at  the  College  at  Chalous-sur- 
Marne.  In  1836-38  he  studied  in  Rome  the 
old  church  music,  in  personal  intercourse 
with  Baiui,  and  through  the  agency  of  Car- 
dinal Wiseman  was  appointed  to  a  position 
at  the  Catholic  College  at  Oscott,  England, 
whence  he  went  in  1811  to  Birmingham,  as 
choirmaster  and  org.anist  of  the  new  cathe- 
dral. In  1843  he  returned  to  Germany, 
lived  in  Munich  and  Vienna,  until  called  to 
Speyer  in  1846  as  professor  of  music  at 
the  seminary,  and  organist  of  the  cathedral. 
Works:  O  clemens,  o  pia,  o  dulcis  virgo 
Maria,  festival  mass,  Speyer,  1853  ;  4  masses, 
for  three  and  four  voices,  with  organ ;  Of- 
fertories, graduales,  etc.  ;  Harnionia  sacra. 
—Mendel. 

BERARDI,  ANGELO,  born  at  Sant'  Aga- 
tha, Bologna,  about  the  middle  of  the  17th 
century.  Church  composer,  maestro  di  cap- 
pella at  Viterbo,  then  (1681)  of  the  cathe- 
dral at  Spoleto  ;  Canon  at  Viterbo  in  1687, 
and  maestro  di  cappella  of  Sta.  Maria  in  Tras- 
tevere,  Rome,  1693.  Works  :  Requiem  mass 
for  5  voices  (1663)  ;  Motets  for  2-4  voices 
(1665)  ;  Psalms  (1675)  ;  Offertories  (1680). 
—Fetis;  Schilling. 

Bfi:RAT,  FREDERIC,  born  at  Rouen  in 
1800,  died  in  Paris,  Dec.  2,  1855.  Vocal 
composer,  went  early  to  Paris,  where  he 
formed  an  intimate  friendship  with  Buran- 


164 


BERBIGUIER 


ger,  and  set  many  of  liis  poems  to  music, 
attaining  great  popularity.  The  best  known 
of  bis  romances  and  chausonettes,  wbicli 
are  still  sung  in  France,  are  :  Ma  Normandie, 
Le  depart,  A  la  froutii're,  La  Lisette  de 
Berauger,  Bibi,  men  chori,  C'est  demaiu 
qu'il  arrive,  etc. — Fetis  ;  Mendel. 

BERBIGUIER,  BENOJT  TRANQUILLE, 
born  at  Caderousse  (Vaucluse)  Dec.  21, 
1782,  died  at  Pont-Levoy,  near  Blois,  Jan. 
29,  1838.  Flute  player,  pujjil  at  the  Paris 
Conservatoire  of  Wunderlich  on  the  flute, 
and  of  Berton  in  composition.  He  was 
drafted  for  the  army  in  1815  ;  his  profes- 
sional life  began  in  1819  and  was  spent  in 
Paris  until  1830.  His  playing  was  remark- 
able for  its  technique  and  purity  of  tone. 
Works :  15  books  of  duets  for  two  flutes ; 
2  do.  for  flute  and  violin  ;  6  grand  solos 
for  flute  ;  10  concertos  for  do.  ;  7  books  of 
sonatas  for  do.  with  bass  or  viola  ;  8  varia- 
tions with  pianoforte  or  orchestra ;  6  do.  ;  6 
books  of  trios  for  three  flutes  ;  One  do.  for 
two  flutes  and  viola  ;  One  do.  for  flute,  vio- 
lin, and  viola ;  Several  suites  of  duets  for  two 
flutes  ;  Grand  duo  coucertante  for  flute  and 
pianoforte ;  Several  fantasias,  romances,  etc., 
for  do.  ;  Method  for  flute.— Fetis  ;  Mendel. 

BERCHEM  (Berghem),  JACQUES 
(Jachet),  born  in  Flanders,  beginning  of  the 
16th  century,  died  about  1580.  Vocal  com- 
poser, and  one  of  the  most  famous  contra- 
puntists of  his  century.  He  passed  most  of 
his  life,  1535-65,  in  the  service  of  the  Duke 
of  Mantua,  whence  he  was  called  by  the 
Italians  Giaclietto  di  Mantova,  as  well  as  to 
distinguish  him  from  Giachetto  di  Keggio, 
who  was  Jachet  de  Werts.  He  is  sometimes 
confounded,  too,  with  Jachet  de  Buus. 
Works  :  26  motets,  lacheti  musici  celeber- 
rimi  atque  delectabilis,  etc.  (Venice,  1539)  ; 
Second  edition,  with  two  more  motets,  II 
prime  lib.  de  motetti  (Venice,  1540)  ;  93 
stanzas  of  Ariosto's  "Orlando  Furioso,"  set 
to  four-part  music  (Venice,  1561).  In  the 
MS.  of  the  16tli  century  in  the  Koyal  Li- 
brary, Munich,  are  three  of  his  masses  for 
five  voices,  under  the  name  of  laches  de 


Mantua.  In  a  collection  published  at  Ven- 
ice in  1544  is  a  mass  by  Jachet  Bergem  on 
the  chanson.  Mors  et  fortuna. — Biog.  nat. 
de  Belgique  ;  Fetis  ;  Gerber  ;  Schilling. 

BEREITE  DICH,  ZION,  alto  aria  in  A 
minor,  with  accompaniment  of  oboe  d'amore 
and  violins,  in  unison,  fagotto  and  continue, 
from  Johann  Sebastian  Bach's  Wriiiacliti^- 
Oratorium,  Part  I. 

BERENICE,  daughter  of  Agrippa  L  of 
Judtea,  wife  of  her  uncle  Herod,  King  of 
Chalcis,  afterwards  of  Polemon,  King  of 
Cilicia,  and  later  at  Rome  beloved  by  the 
Emperor  Titus,  is  the  subject  of  many 
ojsenxs  :  Music  by  Freschi,  Venice,  1680  ;  by 
Strungk,  Leipsic,  1698  ;  by  Bronner,  text  by 
Hinsch,  Hamburg,  1702  ;  by  Porpora,  Rome, 
1710 ;  by  Orlandiui,  Venice,  1725  ;  by  Do- 
menico  Sarri,  Naples,  1725  ;  by  Ferrandini, 
Munich,  1730  ;  by  Araja,  Florence,  1730  ; 
by  Avoudauo,  about  1730  ;  by  Fasch,  Zerbst, 
about  1739  ;  by  Galuppi,  Italy,  1741  ;  by 
Perillo,  Venice,  1757  ;  English  opera,  music 
by  Charles  Frederick  Abel,  Loudon,  1764  ; 
by  Piccinni,  Naples,  1764  ;  by  Rust,  Parma, 
1786;  by  Spontini,  Naples,  i798  ;  by  Zin- 
garelli,  Rome,  1811  ;  Tito  e  Berenice,  music 
by  Caldara,  test  by  Capeca,  Rome,  1714; 
Berenice  iu  Roma,  by  Raimondi,  Naples, 
1823  ;  Titus  et  Berenice,  by  Gastiuel,  Paris, 
1860  ;  Berenice  in  Siria,  by  Carafa,  Naples, 
1818  ;  Berenice,  f)asticcio,  music  by  Johann 
Christian  Bach,  in  collaboration  with  Hasse, 
Galuppi,  and  Ferrandini,  London,  1764. 

BERENICE,  Italian  opera  in  three  acts, 
author  of  text  unknown,  music  by  Handel, 
first  represented  at  Coveut  Garden,  Lon- 
don, May  18,  1737.  The  MS.  in  Bucking- 
ham Palace  is  dated  at  the  beginning,  Dec. 
18,  1736,  and  at  the  end,  Jan.  27,^  1737. 
The  libretto,  which  is  probably  older  than 
the  music,  has  the  following  characters  : 
Berenice,  Selene,  Alessandro,  Demetrio,  Ai-- 
sace,  Fabio,  and  Aristobolo.  The  scene  is 
laid  in  Egypt,  of  which  Berenice  is  queen. 
The  part  of  the  hero  was  sustained  by  Gio- 
acchino  Conti,  called  Gizziello  (1714-61), 
an  artificial  soprano,  one  of  the  gi-eatest  sing- 


lfi5 


BERENS 


ers  of  the  18th  century.    The  work,  iu  sjjite 
of  its  excellence,  had  but  four  representa- 


Gioaccnino  Conti,   called  Gizziello. 

tions,  after  which  Handel  closed  his  theatre. 
Published  first  bj'  Walsh  ;  full  score  by  Hiin- 
delgesellschaft  (Leipsie,  1883). — Schoelcher, 
Handel,  186  ;  Eockstro,  192  ;  Chrysander, 
ii.  398. 

BERENS,  HERMANN,  born  iu  Ham- 
burg, Germany,  in  1826,  died  iu  Stockholm, 
May  9,  1880.  Dramatic  comjioser  and  pi- 
anist, son  and  pupil  of  Karl  Berens  (flutist, 
1801-57)  ;  went  in  1843  to  Dresden,  where 
he  studied  composition  mider  Reissiger, 
made  a  concert  tour  through  Germany  with 
Mai'ietta  Alboni  in  1815,  then  returned  to 
Hamburg.  In  1847  he  was  invited  to  Stock- 
holm, where  he  established  chamber-music 
concerts.  He  went  as  musical  director  to 
Oerebro  in  1849,  whence  he  returned  to 
Stockholm  in  1860  as  Kapellmeister  of 
the  JNlindre  Theatre  ;  later  he  was  made 
Court-Kapellmeister,  professor  and  member 
of  the  Academy.  Works  :  Violetta,  opera, 
given  in  Stockholm  ;  Der  Sommeruaehts- 
traum,  operetta,  ib.,  Royal  Theatre,  185G 
(twenty-five  times)  ;  LuUy  und  Quinault, 
do.,  Mindre  Theatre,  1859  ;  Riccardo,  do., 
ib.,  1869  ;  Music  to  Kodros,  Greek  drama, 
given  in  Hamburg ;  Symphonies  ;  Over- 
tures ;  Cantatas ;  Quartet  for  ijianoforte  and 
strings;  Trio  ;  etc. — Fetis  ;  do.,  Snpph'ment, 
i.  G5  ;  Mendel ;  Rieraann  ;  Schilling. 


BEREZOVSKY,  MAXIMUS  SAZONO- 
VICH,  born  at  Gluchov,  Ukraine,  in  1745, 
died  by  suicide  in  1777.  Church  composer, 
studied  music  at  the  Academy  at  Kiev,  and 
under  Martini  at  Bologna,  whither  he  was 
sent  in  1765  by  Catherine  H.,  after  having 
been  a  singer  iu  the  imperial  chapel  at  St. 
Petersburg.  He  returned  from  Italy  in 
1774,  possessed  of  rai-e  knowledge,  but,  dis- 
apjjointed  in  his  expectation  of  obtaining  a 
position  as  vocal  instructor  iu  the  imperial 
chapel,  he  shot  himself.  He  comjjosed  in 
the  manner  of  the  old  Italian  masters,  en- 
deavoured to  improve  the  service  of  the 
Greek  Church,  and  was  the  first  in  Russia 
to  introduce  double  choruses.  He  was  a 
member  of  the  Accademia  Filarmonica,  Bo- 
logna.— Fc'tis. 

BERG,  KONRAD  MATHIAS,  born  at 
Colmar,  Ai3ril  27,  1785,  died  at  Strasburg, 
Dec.  13,  1852.  Pianist,  pupil  at  Mannheim 
of  Friinzl  on  the  violin,  1804-5,  then  in 
Paris  at  the  Conservatoire  on  the  piano- 
forte in  1806-7.  He  settled  at  Strasbui-g  in 
1808,  thence  visited  Paris  in  1810,  1818, 
1835,  and  1851,  and  Vienna  in  1817,  making 
the  acquaintance  of  Beethoven,  Hummel, 
and  Czernj' ;  and  Darmstadt  in  1825,  where 
he  formed  a  friendshij)  with  Gottfried  Weber 
and  Rinck.  Works  :  Three  concertos  for 
pianoforte  and  orchestra  ;  Rondo  for  do., 
op.  24  ;  Sonatas  for  pianoforte  and  violin, 
op.  9,  23,  and  25  ;  Duo  with  variations,  for 
2  i^ianofortes,  op.  12  ;  Trios  for  pianoforte, 
violin,  and  violoncello,  op.  11,  15,  16,  and 
20  ;  Quartet,  op.  33  ;  Four  string  quartets  ; 
Sonatas  for  pianoforte,  op.  5  and  30 ;  Fan- 
taisies  and  rondeaux  for  do. ;  Variations  for 
do.  and  violin  ;  Die  Nixe  des  Mummelsees, 
ballad  for  soprano. — Fetis  ;  Mendel. 

BERGFJl,  LUDWIG,  born  in  Berlin, 
April  18,  1777,  died  there,  Feb.  16,  1839. 
Pianist,  jjupil  of  Gtirrlich,  then  in  Dresden 
of  Johann  Gottlieb  Nainnann,  and  again  at 
Berlin  of  Clementi,  whom  he  followed  to 
St.  Petersburg  iu  1805,  and  thence  via 
Stockholm  in  1812  to  London,  whither  Cle- 
menti had  gone  in   1810  ;  he  retui-ned  to 


166 


BERGERE 


Berlin  iu  1814r.  As  a  pianist  and  teacher  [ 
he  was  highly  esteemed  ;  his  compositions 
are  meritorious,  but  met  with  little  success, 
appealing  to  the  trained  musician  rather 
than  the  amateur.  "Works :  Souate  pathe- 
tique,  op.  1  (Leipsic,  Peters) ;  Preludes  and 
fugues,  op.  5  (Berlin,  Schlesinger) ;  Pre- 
ludes a  la  turque,  op.  8  (ib.)  ;  Sonatas,  op. 
9,  10,  18  (ib.) ;  Twelve  etudes,  op.  11  (Ham- 
burg, Christian!)  ;  Rondeau  pastoral  (ib.)  ; 
Toccata  (Leipsic,  Breitkoi^f  &  Hilrtel)  ;  So- 
nata for  four  hands,  oj).  15  (Berlin,  Lane)  ; 
3  miHtary  marches,  op.  IG  (ib.)  ;  3  infantry 
marches  (ib.)  ;  Variations  on  Russian  and 
Norwegian  airs ;  Orestes,  opera  ;  Sympho- 
ny, performed  l)y  iMeudelssohn  iu  Berlin, 
1832  ;  8  collections  of  songs  (Offenbach, 
Andre)  ;  Several  do.  of  four-part  songs  for 
male  voices  (Berlin,  Hamburg,  and  Offen- 
bach). Unpublished  :  2  symphonies  ;  Con- 
certo for  pianoforte  ;  String  quartets  ;  18 
variations  on  "Ah!  vous  dirai-je,  maman"  ; 
Kyrie  and  Gloria  a  cappella  for  four  solo  and 
eight  chorus  parts ;  Canons,  fugues,  marches, 
and  songs. — Allgem.  d.  Biogr.,  ii.  380  ;  Allg. 
mus.  Zeitg.,  xli.  186  ;  Fetis  ;  Rellstab,  Lud- 
wig  Berger,  ein  Denkmal  (Berlin,  18-lG). 

BERGfiRE  CH1TEL.\INE,  LA,  opera 
comique  iu  three  acts,  text  by  Plauard,  mu- 
sic by  Auber,  iirst  represented  at  the  Opera 
Comique,  Paris,  Jan.  27,  1820.  This,  the 
first  successful  work  of  the  comijoser,  opened 
to  him  a  long  and  prosperous  career. 

BERGERS,  LES  (The  Shepherds),  opera 
comique  in  three  acts,  text  by  Hector  Cre- 
mieux  and  Philippe  Gille,  music  by  Offen- 
bach, first  represented  at  the  Bouft'es  Pari- 
siens,  Paris,  Dec.  11,  1865.  The  first  act, 
L'idylle,  represents  Arcadian  shepherd  life  ; 
the  second,  Le  trumeau,  the  shepherd  of 
the  rococo  age,  with  music  iu  the  style  of 
the  seventeenth  century  ;  the  third.  La 
bergerie  realiste,  the  shejiherd  of  real  life. 

BERGGEIST,  DER  (The  Spirit  of  the 
Mountain),  romantic  opera  in  three  acts, 
text  by  Di'iring,  music  by  Spohr,  represented 
at  Cassel,  INIarch  24,  1825.  Subject  from  the 
"  Rubezahl "  of  Museeus.     See  also  Ruhezahl. 


BERGGREEN,    ANDREAS    PETER, 

born  in  Copenhagen,  March  2,  1801,  still 
living,  1888.  Instrumental  and  vocal  com- 
poser ;  took  up  music  as  a  profession  after 
having  first  been  compelled  to  study  law, 
became  organist  at  Trinity  Church,  Copen- 
hagen, iu  1838,  professor  of  vocal  music  at 
the  Metropolitan  School  in  1843,  and  in- 
spector of  the  same  branch  in  all  public  in- 
stitutions. Works  :  Collection  of  songs, 
with  guitar  (Copenhagen,  1822,  1823) ;  Ro- 
mances (ib.,  1823)  ;  Ballads  and  Romances 
(ib.,  1824) ;  Variations  for  guitar  (ib.,  1825) ; 
Wedding  Cantata  (1829)  ;  Billedet  og  bus- 
tan  (The  Portrait  and  the  Bust),  comic  op- 
era, given  at  Copenhagen,  1832  ;  Songs  for 
the  use  of  schools  (1834-39) ;  Popular  songs 
and  national  and  foreign  melodies,  for  pi- 
anoforte (1842-47) ;  Twelve  Swedish  songs 
(184G)  ;  National  songs  (1848)  ;  Songs  to 
poems  of  Bellmaun  (1850)  ;  Six  Swedish 
songs  of  Runeberg  (1852)  ;  Several  canta- 
tas.— Pctis,  Supplement,  i.  74  ;  Riemann. 

BERGHEM.     See  Berchem. 

BERGMANN,  JOSEF,  born  at  6erno- 
chov,  Bohemia,  July  26,  1822.  Composer, 
first  instructed  by  his  father,  then  in  Prague 
pupil  of  Josef  Ki-ejci ;  went  as  organist  and 
choirmaster  to  Jungbunzlau  in  1862,  and  as 
choir-director  and  vocal  instructor  to  Smi- 
chov  (Prague)  in  1867.  Works :  Pijakovo 
dedictvi  (The  Toper's  Bequest),  cantata ; 
Choruses  for  male  voices ;  Transcriptions 
of  national  Czech  melodies  ;  Chant  des  Si- 
rt^nes,  for  pianoforte  (1st  prize,  Vienna)  ; 
Other  pianoforte  pieces  ;  Songs. — Mendel. 

BERGSON,  anCHAEL,  born  at  Warsaw 
in  May,  1820,  still  living,  1888.  Dramatic 
composer  and  pianist,  pupil  of  Friedrich 
Schneider  at  Dessau  ;  went  in  1842  to  Italy, 
and  after  his  return  lived  for  several  years 
in  Berlin  and  Leipsic,  then  settled  in  Paris. 
In  1863  he  became  professor  of  the  piano- 
forte at  the  Conservatory  in  Geneva,  soon 
after  its  director,  but  went  a  few  years  later 
to  London.  Works :  Luisa  di  Montfort, 
opera,  given  at  Florence,  Teatro  de  la  Per- 
gola, 1846,  Leghorn,  1847,  Hamburg,  1849 ; 


167 


BERGT 


Qui  va  ;i  la  chasse,  perd  sa  jjlace,  operetta, 
Fans,  1859  ;  Trio  for  pianoforte,  violin,  ami 
violoncello  ;  Duo  dramatique  for  pianoforte 
and  violoncello  ;  Three  duos  for  pianoforte 
and  violin,  for  pianoforte  and  clarinet ;  Con- 
certo in  E  minor ;  Fantasias ;  Mazourkas  ; 
Pieces  de  Salon  ;  German  songs. — Fetis  ; 
do..  Supplement,  i.  358  ;  Riemaun. 

BERGT,  CHRISTIAN  GOTTLOB  AU- 
GUST, born  at  Oederan,  Saxony,  June  17, 
1772,  died  at  Bautzen,  ib.,  Feb.  10,  1837. 
His  taste  for  music  was  aroused  in  1790  at 
Leipsic,  where  he  was  completing  his  theo- 
logical studies,  and  be  gave  himself  up  to 
the  study  of  the  organ,  harmony,  and  com- 
position. In  1801  he  wrote  bis  first  musi- 
cal compositions,  consisting  of  Lieder,  sona- 
tas for  pianoforte,  and  an  intermezzo.  List 
gegen  List.  He  played  the  organ  at  several ! 
of  the  churches  of  Leiissic  as  an  amateur, 
but  bis  recantation  was  soon  established,  and 
in  1802  he  was  made  organist  of  the  princi- 
pal cburcb  at  Bautzen,  and  soon  after  pro- 
fessor at  the  seminary  and  director  of  the 
singing  society.  From  that  time  he  became 
a  celebrated  teacher  of  music,  and  had  many 
illustrious  pupils.  He  wrote  a  treatise,  "Et- 
was  zum  Choral  und  Dessen  Zubebor,"  much 
used  in  the  seminaries  (Leipsic,  1832),  and, 
"  Brief  wechsel  eines  alten  und  jungen  Schul- 
meisters  fiber  allerhand  Musikalisches  "  (Zit- 
tauuud  Leipsic,  1838).  "Works  :  The  Passion, 
oratorio,  in  three  parts,  op.  10  ;  So  weit  der 
Sonne  Strahleu,  hymn  for  four  voices  and 
orchestra,  op.  17  ;  Easter  hymn,  Christus 
ist  erstanden,  for  four  voices  and  orchestra, 
op.  18  ;  A  Te  Deum  ;  A  collection  of  re- 
ligious songs  ;  The  ancient  canticle,  Herr 
Gott  dich  loben  wir,  reset  for  four  voices, 
with  four  trombones,  trumpets,  cymbals, 
and  organ.  These  have  been  much  used  in 
all  the  German  churches.  Operas :  Laura 
c  Fernando  ;  Die  Wunderkur  ;  Erwin  und 
Elmire,  by  Goethe ;  Das  Stiindchen  ;  La 
Fete  auniversaire  de  la  naissance  du  poete  ; 
Mitgefiihl.  For  the  orchestra  and  for  cham- 
ber music  he  wrote  symphonies,  sonatas  for 
pianoforte   and  violin,    German   dances,   a 


wedding  cantata,  and  two  collections  of 
Lieder  for  several  voices  and  pianoforte. 
His  Conge,  Lieder  for  one  voice  with  piano- 
forte, had  a  wonderful  success,  and  was 
published  in  all  the  large  towns  of  Ger- 
many.— Allgem.  d.  Biogr.,  ii.  398  ;  Allgem. 
mus.  Zeitg.,  xxxix.  454  ;  Fetis  ;  Gerber. 
B^RIOT,  CHARLES  AUGUSTE  DE, 
born  at  Louvain, 
Feb.  20,  1802, 
died  in  Brussels, 
April  8,  1870. 
Violinist,  found- 
er of  the  modern 
Franco-Belgian 
school  of  violin- 
playing,  the  first 
after  Paganini  to 
adopt  a  brilliant 
and  effective  mode  of  playing,  in  opposition 
to  the  classic  severity  of  the  old  French 
school.  De  Beriot  received  his  earliest  in- 
struction on  the  violin  from  Tiby,  a  provin- 
cial teacher,  and  when  nine  years  old  per- 
formed in  public  a  concerto  by  Viotti.  In 
1821  he  went  to  Paris,  where  he  was  assist- 
ed in  his  studies  by  Viotti  and  Baillot. 
After  a  successful  debut  there,  De  Beriot 
played  frequently  in  England,  where  he  was 
announced  on  his  first  appearance  at  the 
Philharmonic  Society,  May  1,  1826,  as  "  Vi- 
olon  de  la  chambre  de  sa  Majeste  le  Roi 
de  France."  He  was  solo  violonist  to  the 
King  of  the  Netherlands  from  the  date  of 
his  return  to  Belgium  until  the  Revolution 
of  1830.  From  the  latter  year  until  1835 
he  made  a  professional  tour  through  Eng- 
land, France,  Belgium,  and  Italy,  with 
Maria  Malibran,  whom  he  married  (1835). 
In  1836  he  settled  in  Brussels,  reappearing 
in  public  in  1840,  when  he  travelled  through 
Germany.  He  was  professor  of  violin 
playing  at  the  Brussels  Conservatoire  from 
1843  to  1852,  when  he  retired  from  loss 
of  eyesight.  De  Beriot  wi-ote  a  great  deal 
of  popular  and  brilliant  music  for  the  violin. 
His  published  compositions  consist  of  four 
trios  for  pianoforte,  violin,  and  violoncello  ; 


BfiRIOT 


seven  concertos  ;  eleven  airs  varies  ;  and  a 
number  of  duos  brillants  for  pianoforte  and 
violin  in  conjunction  with  Osborne,  Thal- 
berg,  and  other  pianists.  He  was  author  of 
an  instruction  book  entitled  :  Premier  guide 
des  violonistes  ;  of  several  books  of  studies 
for  the  violin,  and  of  Mcthode  de  violon  en 
trois  parties  (Paris,  1858),  which  is  his  best 
work.  He  was,  too,  a  clever  painter  and 
sculptor.     His  bust  of  Mme  Malibran  is  at 


the  Italiens,  Paris,  and  a  violin  constructed 
by  him  belongs  to  Prince  Youssoupoff,  in 
Russia. — Fetis  ;  do.,  Supplement,  i.  74  ; 
Mendel  ;  Riemann  ;  Wasielewski,  Die  Vio- 
line  und  ihre  Meister,  380. 

BERIOT,  CHARLES  WILFRID  DE, 
bom  in  Paris,  Feb.  12,  1833,  still  living, 
1888.  Pianist,  son  of  Charles  de  Beriot 
and  Maria  Garcia  Malibran.  He  made  his 
debut  in  a  concert  at  Louvain,  when  scarce- 
ly ten  years  of  age,  then  studied  at  the 
College  Louis-le-Grand  in  Paris,  until  1848, 
when  he  went  to  Brussels.  Works  :  Two 
concertos  for  pianoforte,  with  orchestra  ; 
Two  fragments  symphoniques  ;  Trio  ;  Mor- 
ceaux  de  genre  (about  50)  for  pianoforte  ; 
Many  songs. — Fetis,  Sujiplement,  i.  75. 

BERLI.JN  (Berlyn),  ARON  WOLF,  born 
at  Amsterdam,  May  2,  1817,  died  there,  Jan. 
16,  1870.  Dramatic  composer,  pupil  of 
Bernhard  Koch  on  the  pianoforte  and  of 
Ludwig  Erk  in  composition  ;  went  iu  1839 
to  Leipsic,  where  he  studied  counterpoint 
under  Gottfried  Wilhelm  Fink  ;  then  visited 
the  most  important  cities  of  Germany,  be- 
fore returning  to  Amsterdam,  whence  he 
visited  Brussels  in  1844  and  Paris  in  1845- 
46.  For  several  years  after,  he  was  leader 
of  the  orchestra  at  the  Royal  Theatre.  Or- 
der of  Oaken  Crown,  1843  ;  Gold  medal 
of  merit  of  Belgium  and  Denmark,  1845  ; 
Greece,  1846  ;  Sweden  and  Austria,  1848  ; 
Holland,    1858     and    1860  ;    Saxe-Coburg, 


1864  ;  and  Nassau.  Member  of  the  Acad- 
emy of  St.  Cecilia,  Rome.  Works — Op- 
eras :  Die  Bergknappen,  Der  Schatzgra- 
ber,  given  at  Amsterdam,  1841  ;  Runal,  ou 
L'esprit  du  feu,  ib.,  1844;  La  deroute  de 
Culloden,  ib.,  1846  ;  5  other  operas  ;  7  bal- 
lets. Moses  on  Nebo,  oratorio,  performed 
at  Magdeburg,  1844  ;  Ouverture  triomphale, 
Brussels,  1844  ;  Die  Matrosen  am  Ufer, 
symphonic  cantata,  Amsterdam,  1848  ; 
Symphony,  Cassel,  1857  ;  A  Mass  ;  Tautum 
ergo  ;  cantatas,  overtures,  psalms,  quartets 
for  string  instruments,  fantasias  for  orches- 
tra, nocturnes,  songs  with  pianoforte,  four- 
part  songs,  etc. — Fetis  ;  do..  Supplement,  i. 
77  ;  Mendel  ;  Viotta. 

BERLIOZ,  HECTOR  (LOTUS),  born  at 
La  Cote  -  Saint-An- 
dre, near  Grenoble, 
France,  Dec.  11, 
1803,  died  in  Paris, 
March  9,  1869.  His 
father,  Louis  Ber- 
lioz, was  a  phj-sician, 
and  intended  his 
son  for  the  same 
career.  In  1822  he 
was  sent  to  Paris  to 
study  medicine  un- 
der Amussat ;  he  also  attended  lectures  on 
chemistry  by  Thenard  and  Gay-Lussac,  and 
ou  literature  by  Andrieux.  But  the  passion 
for  music  proved  too  strong  and,  in  spite  of 
his  parents,  he  gave  up  medicine,  and  took 
private  lessons  in  composition  under  Le- 
sueur.  He  had  already  begun  composing, 
and  a  mass  of  his  composition  was  given  at 
the  Church  of  Saint-Roch  in  1825.  In  the 
following  year  he  failed  to  be  admitted  as 
competitor  for  the  prize  for  comjjosition  at 
the  lustitut  des  Beaux-Ai-ts,  but  on  Aug.  26, 
1826,  he  was  regularly  inscribed  in  the 
books  of  the  Conservatoire,  and  on  Oct.  2d 
he  entered  Reicha's  counterjioint  class.  In 
1827  he  competed  for  the  first  time  with  a 
cantata,  Ori^hee,  but  got  no  prize.  In  1828 
he  gave  his  first  concert  at  the  Conservatoire, 
and  iu  the  competition  got  the  second  prize 


169 


BERLIOZ 


for  composition  with  bis  cantata  Hermiuie. 
Ill  June,  1829,  he  failed  to  get  a  prize  for  his 
cantata  Cluopatre,  but  in  1830  he  won  the 
pris  tie  Rome  with  his  cantata  Sardanajaale. 
This  crowning  success  brought  about  a  final 
reconciliation  with  his  family,  with  whom  he 
had  broken  several  times.  His  important 
compositions  uji  to  this  time  were  :  Overture 
to  the  Francs-Juges,  1827  ;  Huit  scones  de 
Faust,  1828,  afterwards  destroyed  ;  Melodies 
irlandaises,  1829 ;  Symjihonie  fantastique 
and  Fantaisie  sur  laTempetc,  1830.  "Within 
this  i^eriod  fall  also  his  first  passion  for  Hen- 
rietta Smithson,  the  Irish  actress,  whom  he 
subsequently  married  (1833),  and  his  liaison 
with  Camilla  Moke  (concerning  his  ruisture 
with  whom,  see  Memoires,  121,  and  Hijipean, 
Berlioz  intime,  219).  Early  in  1831  he  set 
out  for  Eome,  where  he  remained  two  years, 
at  the  Academie  de  France.  Durhag  this 
period  he  wrote,  among  other  things,  the 
overture  to  Kob  Roy,  which  he  afterwards 
destroyed.  He  returned  to  Paris  in  1832. 
Near  the  end  of  1812  he  set  out  on  his  first 
concert  trij)  to  Germanj-,  in  which  he  met 
with  flattering  success.  In  181G  he  made 
an  equally  successful  tour  through  Austria, 
Hungary,  Bohemia,  and  Silesia,  and  in  1847 
he  made  a  similar  trip  to  Russia.  In  1852 
he  went  to  London,  where  he  conducted  the 
first  series  of  New  Philharmonic  concerts  ; 
and  in  1853  ho  conducted  his  Benvenuto 
Cellini  there.  His  wife  died  (after  having 
been  separated  from  him  since  1811),  March 
3,  1854,  and  he  married  soon  after  Marie 
Martin,  or,  as  she  was  known  by  her  mother's 
name,  Marie  Recio,  who  died  in  18G2  ;  she 
had  been  his  mist/ess  from  1841  up  to  the 
time  of  her  marriage,  and  was  the  main  cause 
of  his  rupture  with  his  first  wife.  His  last 
years  were  years  of  intense  and  almost  con- 
stant suffering  from  an  affection  of  the  intes- 
tines. The  failure  of  his  ojjei-a,  Les  Troyens 
a  Cartilage,  in  1863,  and  the  death  of  his  son 
Louis  in  1867,  wei'e  blows  from  which  he 
never  recovered.  He,  however,  made  one 
more  trip  to  Russia,  on  invitation  of  the 
Grand  Duchess  Helene,  and  one  to  Vienna  to 


conduct  his  Damnation  de  Faust.  Berlioz 
was  the  head  of  the  modern  French  orchestral 
school,  and  may  be  called  the  father  of  mod- 
ern orchestration.  He  occupied  very  much 
the  position  in  French  music  that  Victor  Hugo 
did  in  French  literature.  He  was  a  thor- 
ough romanticist,  but,  with  all  his  disdain 
for  tradition,  he  never  sympathized  with  the 
Wagnerian  movement  in  Germany.  His 
success  in  France  was  limited  during  his 
lifetime,  although  he  had  his  coterie  of  ad- 
mirers ;  but  his  true  jjojjularitj'  in  his  native 
country  began  only  after  his  death.  Now 
he  is  looked  up  to  as  the  greatest  of  modern 
French  composers  ;  as  a  master  of  the  or- 
chestra he  is  unsurpassed.  His  most  popu- 
lar composition  is  the  Damnation  de  Faust. 
He  considered  the  Eequiem,  the  Romeo  et 
Juliette  symphony,  the  Te  Deum,  and  Les 
Troyens  as  his  greatest  works.  He  never 
played  on  any  instrument,  except  a  little  on 
the  guitar  and  flute.  He  was  for  a  long 
time  musical  critic  on  the  Journal  des 
Debats.  He  was  appointed  librarian  to  the 
Conservatoire  in  1838,  and  elected  to  suc- 
ceed Adolphe  Adam  at  the  Institut  in  1856. 
He  was  Chevalier  of  the  Legion  of  Honour. 
■Works — Ijramatic  :  llenvenulo  Cellini,  ojj- 
era  semi-seria,  op.  23,  given  in  Paris,  Op- 
era, Sept.  3,  1886  ;  Beatrice  et  Benedict, 
comic  opera,  Baden-Baden,  Aug.  9,  1862, 
conducted  by  the  comjDoser ;  Les  Troyens — I. 
La  prise  de  Troie,  opera  in  three  acts,  never 
performed,  II.  Les  Troyens  a  Carthage, 
opera  in  five  acts,  Paris,  Theatre  Lyrique,Nov. 
4,  1863  ;  Lelio,  ou  Le  retour  a  la  vie,  Ij-ric 
monodrama,  ojj.  14b  (2d  part  of  the  Episode 
de  la  vie  d'un  artiste).  Vocal-^With  orches- 
tra :  La  damnation  de  Faust,  legend  in  four 
parts,  op.  24,  ib..  Opera  Comique,  Dec.  6, 
1846,  conducted  by  the  composer.  UEn- 
fance  du  Christ,  sacred  trilogy,  op.  25, 
Paris,  Salle  Herz,  Dec.  10,  1854,  conduct- 
ed by  the  composer  ;  Sara  la  baigneuse, 
ballad  for  three  choruses,  op.  11  ;  Romeo 
et  Juliette,  dramatic  symphony  with  chorus, 
solos,  and  prologue  in  choral  recitative,  op. 
17;   Tristia,  a  collection   of  two  choruses. 


170 


BERLS 


Paris,  1844);  "  Les  soirees  de  Torcliestre  " 
(ib.,  1853)  ;  "  Les  grotesques  de  la,  musique  " 
(ib.,  1859)  ;  "  A  travers  chauts"  (ib.,  1802) ; 
"Mcinoires,"etc.,  1803-1865  (ib.,  1870;  Eug- 
lisli  trauslatiou,  Loudou,  1884);  "  Traite 
d'instrumentation  "  (Paris).    A  German  edi- 


and  a  funeral  march  with  chorus,  op.  18  ; 
Vox  Populi,  two  grand  choruses,  op.  20  ; 
U  Imperkdc,  cantata  for  two  choruses,  oj). 
2(),  Palais  de  I'lndustrie,  Champs  Elysees, 
1855,  conducted  by  the  composer  ;  Grande 
messe  des  morts,  requiem,  op.  5  ;  Te  Deum 
for  three  choruses  and  organ  obli- 
gato,  op.  22  ;  La  belle  Isabeau,  for 
chorus ;  Le  cinq  mai,  cantata  for 
bass  and  chorus,  op.  6  ;  Les  nuits 
d'c'te,  six  songs  with  small  orches- 
tra, op.  7  ;  La  captive,  reverie  (Vic- 
tor Hugo),  for  contralto,  op.   12. 
.  Vocalj — With  pianoforte: 

melodies  (Thomas  Moore),  tor  one  W'      •    ra  \  a 
or  two  voices,  or  choruses,  op.  2  ;  ^ 

Flews  des  Laudes,  five  songs,  op.  13  ;  tiou  of  his  literary  works  is  entitled  "  Ge- 
Feuillels  d'album,  three  songs,  one  of  which  sammelte  Schriften"  (Leipsic,  4  vols.,  1865). 
is  with  chorus,  op.  19  ;  Le  temple  universel,  ^  — Edmond  Hippeau,  Berlioz  iutime  (Paris, 


X^ 


e:/,-W.,9         /)        ^  'ilo.Jb^ 

ire),  for  one  gV     •    r;tiA  O       O  '^^-^ 

ISPS   mi   2  •  ^  "  '     J  -/ 


chorus  for  4  voices  ;  Pricre  du  matin,  do. 
for  2  voices  ;  Le  chasseur  danois,  for  bass. 
'  T'lptrumental  :  Symphonic  fantastique,  op. 
14a,  first  part  of  Episode  de  la  vie  d'un  ar- 
tiste ;  Grande  si/nqjJionie  fuuebre  et  triom- 
phale,  for  full  military  band,  with  string 
orchestra,  and  chorus  ad  libitum,  ojj.  15  ; 
Harold  en  Italic,  symphony  with  viola  obli- 
gata,  op.  16  ;  5  overtures,  Waverley,  op.  1, 
Les  Fi-ancs-J uges,  op.  3,  Boi  Lrar,  op.  4, 
Le  carnaval  romain,  op.  9  (second  overture 
to  Benvenuto  Cellini),  Corsaire,  op.  21  ; 
Reverie  et  caprice,  romance  for  violin,  with 
orchestra  or  pianoforte,  op.  8.  Eight  scenes 
from  Goethe's  Faust  (destroyed,  not  to  be 


1883) ;  Berlioz  artiste  (in  press)  ;  Xavier 
Eyma  et  Arthur  de  Lucy,  licrivains  et  ar- 
tistes vivants  (Paris,  Librairie  universelle, 
1840)  ;  Eugene  de  ilirecourt,  Berlioz  (Paris, 
1856)  ;  Georges  de  Massougnes,  Berlioz,  son 
oeuvre  (ib.,  Eichault  et  Dentu,  1870)  ;  Revue 
et  Gazette  musicale  de  Paris  (1870-71)  ; 
D.  Bernard,  Correspondance  inedite,  (ib., 
1879)  ;  H.  M.  DunstaiT7  Life  and  Letters 
of  Berlioz  (trans,  from  Bernard,  London, 
2  vols.,  1882) ;  Joseph  Bennett,  Berlioz 
(London,  1883)  ;  Alfred  Ernst,  LVeuvre 
dramatique  de  H.  Berlioz  (Paris,  1884)  ; 
AVm.  F.  Apthorp,  Hector  Berlioz  (New  York, 
1879)  ;  Georges  NoulHard,  Hector  Berlioz  et 


confounded  with  La  damnation  de  Faust)  ;  le  mouvemeut  de  I'art  contemporain  (Paris, 


Resurrexit  et  iterum  venturus,  for  chorus 
with  orchestra  (1831) ;  Quartette  e  coro  dei 
Maggi,  for  mixed  voices,  with  orchestra 
(1832);  Litrata  di  Rol 
1832).  Transcriptions  :  La  Marseillaise,  ar- 
ranged for  chorus  and  full  orchestra  ;  Leo- 
pold de  !Meyer's  Marche  marocaine,  for  full 
orchestra  ;  Weber's  Invitation  :i  la  valse,  for 
do. ;  Accompaniment  to  Schubert's  Erlkiinig, 
do. ;  do.  to  Martini's  Plaisir  d'amour,  for 
small  orchestra.  He  was  the  author,  also, 
of  the  following  Ut^rarv  works^  "  Voyage 
musical  en  Allemagne  et  en  Italic  "  (2  vols.. 


1885)  ;  Leipsic  Signale,  March  15,  1869, 
February,  1879,  No.  16  ;  London  Musical 
Times,  xxi.  272,  326  ;  Dwight's  Journal,  xxiii. 
Roy  MacGregor  25,  33,  41,  49  ;  xxix.  10,  11  ;  London  Mus. 
Standard,  new  series,  xvii.  264,  294  ;  Am- 
bros,  Bunte  Bliltter,  i.  93  ;  Mirecourt,  Ber- 
lioz (Paris,  1856)  ;  Griepenkerl,  Ritter 
Berlioz  in  Braunschweig  (Brunswick,  1843) ; 
Hanslick,  Musikalische  Stationen,  190. 

BERLS,  JOHANN  RUDOLF,  born  at 
Alach,  near  Erfurt,  May  8,  1758,  died  at 
Rhoda,  Thuringia  (?).  Organist,  pupil  of 
Creuzmuller  on  the  pianoforte  and  violin, 


BERNABEI 


of  the  cantor  Weimar  in  singing,  of  Eei- 
chardt  on  the  organ,  and  of  Hassler  in  com- 
l)ositiou.  AYorks  :  Several  short  oratorios  ; 
Motets  ;  .Symjjhouies ;  2  sonatas  for  piano- 
forte for  four  hands  ;  30  national  melodies, 
for  pianoforte  ;  Arias,  and  jjianoforte  pieces. 
— Fe tis  ;  Gerber,  N.  Lex. ;  Mendel. 

BERNABEI,  GIUSEPPE  ANTONIO, 
born  in  Rome,  1659,  died  in  Munich,  March 
3, 1732.  Dramatic  composer,  son  and  pupil 
of  Giusej^pe  Ercole  Bernabei,  with  whom 
he  went  to  Munich,  and  whose  successor 
he  became  there.  Works — Operas  :  Alvida 
in  Abo,  Munich,  1G78 ;  Enea  in  Italia,  ib., 
1679  ;  Ermione,  ib.,  1680  ;  Niobe  regina  di 
Tebe,  ib.,  1688 ;  La  gloria  festeggiante,  ib., 
1688.  Church  music :  Orpheus  ecclesias- 
ticus,  consisting  of  several  masses  (Augs- 
burg, 1698) ;  MissjB  VII.  cum  quatuor  voci- 
bus  (Vienna,  1710);.  24  hymns  for  four 
voices,  and  basso  continuo  for  organ.  His 
brother  Vincenzo  (born  in  Rome,  1666)  also 
composed  several  operas,  among  which  may 
be  mentioned  :  Gli  accidenti  d'  amore, 
Vienna,  1689 ;  Eraclio,  Munich,  1690.— Fo- 
tis  ;  Gerber,  N.  Lex. 

BERNABEI,  GIUSEPPE  ERCOLE,  born 
at  Caprarola,  Papal  Territory,  1620,  died  in 
Munich,  1687.  Dramatic  composer,  one  of 
the  best  harmonists  of  the  17th  century, 
pupil  of  Orazio  Beuevoli.  He  was  maestro 
di  cappella  of  San  Giovanni  in  Laterano  in 
1662-67,  then  of  San  Luigi  de'  Francesi  un- 
til 1G72,  when  he  succeeded  Benevoli  in  San 
Pietro  in  Vaticano  ;  only  a  year  after,  he  was 
called  to  Munich  to  succeed  Kerl  as  Hof- 
Kapellmeister.  Works — Operas  :  La  cou- 
quista  del  vello  d'  oro  in  Colco,  La  fabrica 
di  corone,  given  in  Munich,  1674  ;  II  liti- 
gio  del  cielo  e  della  terra,  ib.,  1680  ;  Masses ; 
Psalms ;  Offertories  for  4-16  voices  ;  Motets 
(1690)  ;  IMadrigals,  for  3,  5,  and  6  voices 
(1669).— Fc'tis  ;  Mendel. 

BERNARD,  PAUL,  born  at  Poitiers, 
France,  Oct.  4,  1827,  died  iu  Paris,  Feb.  24, 
1879.  Pianist  and  composer,  pupil  in  Paris 
of  Gambaro  and  Tlialberg  on  the  pianoforte, 
and  at  the  Conservatoire  of  Elwart  iu  har- 


mony, and  of  Halevy  in  fugue  and  compo- 
sition ;  appeared  successfully  in  concerts, 
and  devoted  himself  to  teaching.  Several 
parlor  operas  by  him  were  performed  iu 
Paris  ;  amoug  them :  Loin  du  bruit,  L' Ac- 
cord parfait,  etc.  He  has  published  nioie 
than  a  hundred  compositions  for  the  pia- 
noforte, and  many  songs. — Fetis,  Sujjple- 
ment,  i.  78. 

BERNARDI,  BARTOLOMEO,  born  in 
Italy  iu  the  latter  jjart  of  the  17th  century. 
Violinist,  and  about  1720  Kapellmeister 
to  the  King  of  Denmark  at  Copenhagen. 
Member  of  the  Academy  there.  Works  : 
12  sonatas  for  violin  with  basso  continuo  ; 
Sonate  a  tre,  for  two  violins  and  violoncello, 
with  basso  for  the  organ  (Bologna,  1696)  ; 
Concertos,  caprices,  cantatas  (formerly  in 
the  Royal  Librai-y  at  Copenhagen,  consumed 
in  the  great  fire  of  1794). — Fetis  ;  Mendel. 

BERNARDI,  ENRICO,  Italian  dramatic 
composer,  contemporarj^.  He  was  maestro  < 
concertatore  and  orchestra  leader  at  the 
Teatro  del  Verme,  Milan,  in  1876.  Works : 
Zeliska,  ballet,  given  at  Milan,  Scala,  1860  ; 
Marco  Visconti,  do.,  Turin,  Teatro  Regio, 
1862  ;  nda,  Don  Pacheco,  do.,  Trieste,  1868  ; 
Ate,  do.,  Milan,  Teatro  Castelli,  1876;  II 
Granduca  di  Gerolstein,  oj)era  buffa,  Milan, 
1871.— Fetis,  Supplement,  i.  78. 

BERNARDI,  STEFFANO,  born  about 
the  close  of  the  16th  century.  He  was 
maestro  di  cappella  of  the  Duomo,  and  ma- 
estro of  the  Accademia  Filarmonica,  Verona, 
and  probably  canon  and  maestro  di  cajspella 
at  Salzburg.  He  wrote  an  elementary  work 
entitled.  Porta  musicale,  etc.  (Verona,  1615, 
second  edition,  Venice,  1639).  His  composi- 
tions, consisting  of  madrigals  published 
at  Venice,  of  masses,  ^jsalms,  and  motets, 
appeared  from  1611  to  1637.  Some  motets 
were  publi.shed  at  Salzburg  in  1634,  and  a 
mass  for  five  voices  at  Antwerp  in  1619. — 
Fetis  ;  Mendel ;  Schilling. 

BERNARDIN,  BERNARD  COURTOIS, 
called,  born  about  1826,  died  in  Paris  during 
the  siege,  1870  or  1871.  Violinist,  pupil  of 
the  Conservatoire,  where  he  won  the  second 


172 


BERNARDINI 


prize  iu  1841 ;  became  chef  d'orchestre  at 
the  Vaudeville,  then  at  the  Folies  Nouvelles, 
and  other  theatres  of  this  class,  and  finally 
at  the  Folies  Draniatiques.  He  wrote  mu- 
sic to  the  following  pieces :  Polkette,  Folies 
Nouvelles,  185G  ;  Nous  n'irous  plus  au  bois, 
ib.,  1857  ;  P'tit  fi,  p'tit  mignon,  ib. ;  Nicaise, 
Bouiies  Parisiens,  18C7  ;  Une  razzia  galaute, 
pantomime,  Apres  la  noce,  do. ;  Fautaisie 
for  violin,  with  pianoforte. — Fetis,  Supple- 
ment, i.  79. 

BERNARDINI,  MARCELLO,  boru  at 
Capua,  Ital}',  about  17G2,  sometimes  called 
Marcello  da  Capua.  Dramatic  comjjoser ;  he 
frequently  ^vl■ote  his  own  libretti.  Works  : 
L'  Isola  incautata,  given  at  Perugia,  1781 ; 
La    finta    sposa    olandese,    Rimini,    1784 ; 

I  tre  Orfei,  intermezzo,  Rome,  1781 ;  Le 
donne  bisbetiche,  ossia  1'  antiquario  fana- 
tico,  ib.,  about  1785  ;  II  baroue  a  forza,  ib., 
1785 ;  II  coute  di   bell'  umore,  ib.,   178G  ; 

II  fonte  d'  acqua  gialla,  ossia  il  trionfo  della 
pazzia,  Rome,  1787  ;  Le  quattro  Stagioni,  Al- 
bano,  1788;  II  bruto  fortuuato,  Civita  Vec- 
chia,  1788  ;  Gli  amanti  confusi  ;  La  Donna 
di  Sj)irito,  Rome,  1788  ;  La  finta  Galatea, 
Naples,  1789  ;  La  fiera  di  Forlipoijoli, 
Rome,  1789 ;  L'  Ultima  che  si  perde  e  la 
sperauza,  Naples,  1790  ;  II  Pizarro  in  Perh, 
L'  Amore  Y>ei-  magia,  ib.,  1791  ;  La  donna 
bizzarra,  Vienna,  1793 ;  L'  Allegria  in  cam- 
pagna,  Venice,  1794 ;  La  statua  per  j^uu- 
tiglio,  about  1794. — Fetis  ;  Gerber,  N.  Lex.; 
Schilling. 

BERNASCONI,  ANDREA,  born  at  Mar- 
seilles iu  1712,  died  iu  Munich,  Jan.  24, 
1784.  Dramatic  composer,  son  of  au  ex- 
army  officer  who  settled  at  Parma  ;  he  stud- 
ied music  from  his  earliest  youth  and  gave 
lessons  while  still  young  ;  brought  out  his 
first  opera  in  Venice  iu  1741,  visited  Rome 
and  other  Italian  cities,  went  to  Vienna  iu 
1743,  and  returned  to  Parma  in  1747.  He 
became  maestro  di  eappella  at  the  Ospedale 
della  Pieta  in  Venice,  went  to  Munich  in 
1754,  and  was  made  Hof-Kapellmeister  to 
the  Elector  Maximilian  in  1755.  Works — 
Operas :  Alessandro  Severo,  given  iu  Venice, 


1741 ;  La  uinfa  Apollo,  Vienna,  1743  ;  Te- 
mistocle,  ib.,  1744 ;  Antigone,  ib.,  1745 ; 
Sallustia,  Munich,  1753 ;  Bajazet,  L'  Ozio 
fugato  dalla  gloria,  ib.,  1754 ;  Adriano,  II 
trionfo  della  costanza,  Alessandro,  ib.,  1755  ; 
Didone  abbaudouata,  ib.,  1756  ;  Agelmondo, 
ib.,  17G0;  Artaserse,  ib.,  17G3;  L' Olimpi- 
ade,  ib  ,  17G4  ;  Demofoonte,  ib.,  17G5 ;  En- 
dimioue,  ib.,  176G  ;  La  clemenza  di  Tito,  ib., 
17G8;  Demetrio,  ib.,  1772  ;  La  Betulialibe- 
rata,  oratorio,  1754.  He  wrote  also  a  num- 
ber of  masses,  vespers,  and  litanies,  which 
remain  in  MS. — Futis  ;  Schilling. 

BERNER,  FRIEDRICH  WILHELM, 
born  at  Breslau,  Silesia,  March  IG,  1780, 
died  there.  May  9,  1827.  Organist,  pupil 
of  his  father,  who  was  organist  of  the  Eliza- 
beth Church  at  Breslau,  and  his  assistant 
when  thirteen  years  old.  He  studied  coun- 
terpoint and  composition  under  Gehirnie, 
directorof  the  choir  at  the  Matthiius  Church, 
and  the  violoncello,  horn,  bassoon,  and  clari- 
net under  Reichardt.  In  company  with 
Schnabel,  Beruer  visited  Berlin  in  1811,  to 
master  the  system  of  the  Siugakademie, 
with  a  view  to  establishing  for  the  govex'u- 
ment  similar  institutions  throughout  Silesia, 
and  ho  was  employed  also  iu  cataloguing 
the  musical  libraries  of  the  suppressed  mon- 
asteries, a  task  which  was  cut  short  by  his 
death.  He  wrote  cantatas,  marches,  dances, 
etc.,  from  1792  to  179G  ;  later  (1799)  he  com- 
posed an  elegy  to  Jules  de  Tarent,  and  a  har- 
monized piece  which  was  considered  very  fine. 
In  1801  his  jiroductions  became  more  char- 
acteristic ;  his  best  work  is  the  150th  Ps;ilui 
for  four  voices  and  orchestra  ;  L'H^-mne  dcs 
Allemauds  with  orchestra  is  also  one  of  his 
best  works.  He  wrote  an  intermezzo,  Der 
Kapellmeister,  besides  masses,  canons, 
sacred  choruses,  and  Lieder,  of  which  his 
Deutsches  Herz,  verzagenicht  is  still  poi^ulnr. 
He  excelled  as  a  teacher,  and  had  as  puj)ils, 
Koehler  his  successor  as  organist,  Zoelner, 
and  Adolph  Hesse.  His  most  valuable  di- 
dactic writings  ai-e  :  "  Grundregeln  des 
Gesanges  "  (1815)  ;  "  Theorie  des  Choral- 
Zwisehenspiels  "   (1819)  ;   "  Lehre  von   der 


ViS 


BERNE  VI LLE 


musikaliscbeu  Interpunktion  "  (1821). — All- 
gem,  d.  Biogr.,  ii.  413  ;  Allgem.  mus.  Zeitg.  ; 
Fetis  ;  Meudel ;  Schilling. 

BERNEVILLE,  GILBERT  DE,  trouba- 
dour of  the  13tli  ceutury,  boru  at  Couitraj-, 
according  to  popular  belief,  but  Fetis  thinks 
at  the  village  of  Berneville,  near  Arras.  He 
flourished  before  12G0,  and  was  in  the 
service  of  Henry  HI.,  Duke  of  Brabant.  He 
■wrote  a  song  beginning, "  Beau  Gillebert,  s'il 
vos  agree."  Fifteen  of  his  chansons  are  in 
the  National  Library,  Paris,  and  two  IMSS.  in 
the  same  library  contain  six  more. — Fetis  ; 
Larousse  ;  Mendel,  Ergilnz.,  3-1. 

BEENHAED,  CHKISTOPH,  boru  at 
Dantzic  iu  1G12,  died  at  Dresden,  Nov.  14, 
1692.  The  son  of  a  poor  fisherman,  he  was 
enabled,  with  tile  assistance  of  Dr.  Strauch, 
to  enter  the  Gymnasium  at  Dantzic,  where 
he  studied  music  under  Balthazar  Ei-beu, 
and  the  organ  and  harmony  under  Paul 
Syfert,  and  later  to  visit  Dresden,  where  he 
was  a  jiupil  of  H.  Schiltz  in  counterpoint 
and  composition.  His  fine  tenor  voice  in- 
duced the  Kurfiirst  to  send  him  to  study 
singing  in  Italy,  where  he  became  the  friend 
of  Carissimi,  and  his  compositions  were 
much  admired.  He  returned  to  Dresden 
with  several  singers  for  the  Royal  Chapel, 
but  the  Elector  sent  him  back  to  comjjlete 
the  royal  choir  and  to  secure  a  Kapellmeis- 
ter. Through  intrigue  he  was  forced  to  re- 
sign his  post  at  Dresden  and  to  take  a  can- 
torship  at  Hamburg,  whence  he  was  recalled 
after  ten  years  by  the  Kurfiirst  Johann 
Geoi'g  ni.,  and  became  teacher  to  the  young 
princes,  and  Kapellmeister  until  his  death. 
He  was  noted  for  his  knowledge  of  counter- 
point, a  notable  instance  of  which  is  shown 
in  his  setting  of  the  Latin  hymn,  Prudentia 
prudentiaua  (Hamburg,  IGfiO).     Works  :  2 


'^i^^M^ 


masses  for  fen  voices  and  ten  instruments, 
in  MS.  ;  Geistlicher  Harmonia  erster  Theil, 


containing  20  cantatas  (Dresden,  1665).  He 
was  the  author  also  of  didactic  treatises  en- 
titled "Tractatuscomijositionesaugmentas ;" 
and  "  Ausfiihrliclier  Bericht  von  dem  Ge- 
brauch  der  Consouanzen,  nebst  einem  Au- 
hang  von  dem  doppelten  und  vierfacheu 
ContraiJunct." — Allgem.  d.  Biogr.,  ii.  456  ; 
Fetis  ;  Gerber,  N.  Lex. ;  Schilling. 

BERNICAT,  FIRJHN,  boru  in  1841,  died 
iu  Paris,  March,  1883.  Works :  Ali-pot-de- 
rhum  (a  I'Hijipodrome),  operette  bouffe  in 
one  act,  played  at  the  Alcazar  d'Ete,  Paris, 
July,  1870  ;  Trois  grands  prix,  operette, 
Theatre  Taitbout,  ib.,  March  28,  1875 ;  La 
jeunesse  de  Beranger,  ojjerette,  given  at 
I'Eldorado,  ib.,  January',  1877. — Fetis,  Sup- 
plement, i.  79. 

BERNIER,  NICOLAS,  born  at  Nantes, 
June  28,  1664,  died  at  Versailles,  Sejat.  5, 
1734.  Church  composer,  pupil  in  Rome  of 
Caldara,  whose  works  became  his  model. 
He  was  considered  the  most  skilful  composer 
of  his  time,  was  at  first  maitre  de  musique 
of  Saint-Germain  I'Auxerrois,  theu  of  the 
royal  chajsel,  in  which  capacity  he  founded 
at  Versailles  a  school  of  music,  from  which  is- 
sued several  of  the  most  eminent  French  ar- 
tists. Works  :  26  motets,  op.  1  (Paris,  1703); 
Motets  for  1,  2,  and  3  voices,  op.  2  (ib.,  1713) ; 
Motets,  posthumous  (ib.,  1736) ;  Cautates 
franjaises,  books  1-7. — Fetis  ;  Schilling. 

BERR  (Beer),  FRIEDRICH,  born  at 
Mannheim,  April  17,  1794,  died  in  Paris, 
Sept.  24,  1838.  Virtuoso  on  the  clarinet 
and  bassoon  ;  pui^il  of  his  father,  Jacob 
Beer,  on  the  violin  and  the  flute.  He  became 
bandmaster  of  the  39th  Regiment  of  Infan- 
try, served  in  Sjjain  in  1810-14,  and  iu  1816 
studied  harmonj'  under  Fetis,  then  organist 
at  Douai.  In  1819  he  became  bandmaster 
of  the  2d  Regiment  of  Swiss  Guards  iu  Paris, 
and  in  1823  first  clarinet  at  the  Opera.  He 
was  appointed  professor  of  the  clarinet  at 
the  Conservatoire  in  1831,  first  clarinet  to 
the  king,  and  member  of  the  Legion  of 
Honour  iu  1835.  In  1836  the  government 
created  a  school  of  military  music  as  part  of 
the  Conservatoire,  which  he  superintended 


174 


berrE 


until  bis  death.  He  wrote  au  immense 
amount  of  music  for  the  clarinet,  bassoon, 
and  other  instruments.  Five  hundred  of 
his  pieces  are  military  music,  forty  suites 
d'hariuonie,  besides  duos,  quatuors,  airs  va- 
ries, etc.,  published  at  Paris,  Leipsic,  etc. 
He  wrote  a  method  for  the  clarinet  entitled 
Traite  complet  de  la  clarinette  a  14  clefs 
(Paris,  183(5),  which  was .  translated  into 
German  by  Lobe.—  Fetis  ;  do.,  Suppli'ment, 
i.  79  ;  Mendel ;  Schilling,  i.  587  ;  Supple- 
ment, 38. 

BERRE,  FERDINAND,  born  at  Gaus- 
horen,  near  Brussels,  Feb.  5,  181:3,  still  liv- 
ing, 1888.  Dramatic  composer,  pupil  of 
Godineau,  and  of  Bosselet  the  younger. 
Having  founded  the  Cercle  Symplionique  et 
Dramatique,  he  brought  out  there  :  L'Orage 
au  moulin,  comic  opera,  18G7  (in  Flemish, 
under  the  title  Marldes  op  Jacht,  Theatre 
du  Cirque,  the  same  year)  ;  Le  couteau  de 
Castille,  op6ra-bou£fe,  18G7,  which  was  also 
sriven  at  the  Galeries  Saint-Hubert,  1868. 
He  has  composed  the  following  operas,  still 
unpublished  :  Le  dernier  des  Mohicans, 
Madame  Putiphar,  Les  poltrons,  Lowely, 
and  has  published  about  fifty  romances 
(Brussels,  Schott).— Fctis,  Supplement,  i. 
80. 

BERTALI,  ANTONIO,  born  at  Verona, 
1G05,  died  in  Vienna,  April  1,  1669.  Dra- 
matic composer,  became  court  musician  at 
Vienna  in  1637,  and  Hof-Kapellmeister  in 
1649.  AVorks  —  Operas:  L'  inganno  d' 
amore,  Vienna,  1653  ;  Teti,  ib.,  1656  ;  II 
Re  Gelidoro,  ib.,  1659  ;  Gli  amori  di  Apol- 
lo, ib.,  1660  ;  II  Giro  crescente,  ib.,  1661  ; 
L'  Alcindo,  ib.,  1665  ;  Cibele  e  Ati,  ib., 
1666 ;  La  contessa  dell'  aria  e  dell'  acqua, 
ib.,  1667.  Oratorios  :  Maria  Magdaleua, 
1663  ;  Oratorio  sacro  ;  La  strega  degl'  in- 
nocenti,  1665.  Cantatas,  performed  in  Vi- 
enna, 1631-46  ;  Thesaurus  musicus  (1671)  ; 
Jlass  ;  Suonata  a  nove  ;  Sonatas  for  2  vio- 
lins and  bass  ;  Magnificat. — Fetis  ;  Gerbei-, 
N.  Lex.  ;  Schilling. 

BERTANI,    LELIO,    born    at    Brescia 
about  1520,  died  there  in  1600.     Maestro, 


di  cappella  of  the  Cathedral  of  Brescia ; 
subsequently  court  musician  to  Alfonso  of 
Perrara,  and  maestro  to  the  Bishop  of  Pa- 
dua. One  of  his  madrigals  is  to  be  found 
in  the  collection  of  Hubert  Waebrant  (1504), 
and  others  in  the  following  collections  pub- 
lished at  Venice  :  II  Lauro  verde  (1591)  ;  II 
Trionfo  di  Dori  (1596  ;  Antwerp,  1601) ;  and 
in  a  collection  of  sonnets  by  Battista  Zuc- 
carini  (Venice,  1586).  Among  those  pub- 
lished separately  are  :  Madrigali  a  cinque, 
lib.  i.  (Brescia,  1584)  ;  Sonnets  for  five 
voices  (Venice,  1586-1609)  ;  Madrigals  for 
six  voices,  lib.  i.  (Venice). — Fetis  ;  Gerber, 
N.  Les. ;  Schilling. 

BERTE.AU,  born  at  Valenciennes  in  the 
first  years  of  the  ISth  century.  Founder  of 
the  violoncello  school  in  France  ;  travelled 
in  Germany  when  young,  and  was  a  pupil 
of  a  Bohemian  named  Kozecz  on  the  bass- 
viol,  an  instrument  on  which  he  excelled, 
but  he  gave  it  up  for  the  violoncello.  In 
1739  he  made  his  first  appearance  in  Paris  at 
the  Concerts  Spirituels.  Among  his  pupils 
were  Cupis,  the  two  Jansons,  and  Dupont 
aine.  He  published  four  concertos  for  vio- 
lin, and  thi-ee  books  of  sonatas  for  violin 
and  bass. — Fetis  ;  Mendel. 

BERTELINIAN,  JAN  GEORG,  born  at 
Amsterdam,  Jan.  21,  1782,  died  there,  Jan. 
25,  1854.  Composer,  pupil  of  the  blind  or- 
gan-virtuoso Brachthuijzer  ;  professor  at  the 
Royal  School  of  Music,  Amsterdam,  member 
of  the  Accademia  di  Sta.  Cecilia,  Rome. 
He  formed  many  eminent  pupils,  among 
whom  were  Stumpff,  Richard  Hoi,  Van 
Bree,  etc.  Order  of  the  Lion.  Works:  Grand 
cantata  with  orchestra,  Amsterdam,  1836  ; 
Other  cantatas  ;  Motets  ;  Mass  ;  Requiem  ; 
Two  overtures  ;  String  quartets  ;  Concertos 
for  clarinet  ;  do.  for  double  bass  ;  Etudes 
for  violin  ;  Pianoforte,  and  violin  pieces. — 
Viotta. 

BERTELSMANN,  KARL  AUGUST, 
born  at  Giltersloh,  Westphalia,  in  1811,  died 
at  Amsterdam,  Nov.  20,  1861.  Composer, 
pupil  of  Rinck  at  Darmstadt ;  instructor  of 
vocal  music  at  the  seminary  at  Soest,  he 


175 


BERTHA 


■went  in  the  same  capacitj'  to  Amsterdam  iu 
1838,  and  assumed  the  dhectiou  of  the 
newly  founded  Eutonia  there  in  1839. 
Works  :  12  four -part  songs  for  mixed 
voices,  op.  3  ;  Choruses  for  male  voices  ; 
Hymn  for  do. ;  Songs,  with  pianoforte  ;  Or- 
gan, and  pianoforte  music. — Fiitis  ;  Viotta. 

BERTHA,  ALEX.\^DER  VON,  born  at 
Pesth,  Hungary,  contemporary.  Instru- 
mental composer,  pupU  iu  Pesth  of  Mosonyi 
and  of  A.  Feley,  and  at  Leipsic  and  Berlin 
of  Hauptmaun,  Moscheles,  and  Hans  von 
Billow.  He  settled  afterwards  iu  Paris. 
Works  :  Symphony  ;  Quartets  ;  Sonatas  ; 
Hougroises,  etc.  ;  National  hymn  (gold 
medal). — Fetis,  Supplement,  i.  80. 

BERTHAUME,  ISIDORE,  born  in  Paris, 
1752,  died  in  St.  Petersburg,  March  20, 
1802.  Violinist,  played  with  success  iu 
public  when  nine  years  old,  became  first 
violin  in  the  Opera  orchestra,  and  conductor 
of  the  Concerts  Sj)irituels  iu  1783.  He  went 
on  a  concert  tour  during  the  Revolution, 
was  appointed  Conzertmeister  to  the  Duke 
of  Oldenburg  at  Eutin  iu  1703,  and  a  few 
years  later  went  to  St.  Petersburg,  as  solo- 
violinist  in  the  imperial  orchestra.  Works  : 
Sonatas  for  violin,  iu  the  style  of  Lolli ;  Sis 
solos  for  do.,  op.  2  ;  6  duos,  op.  3  ;  Sona- 
tas, op.  4  ;  Concerto  for  violin,  op.  5  ;  Sym- 
phonic concertante,  for  2  violins,  op.  6  ; 
Sonatas  for  jDianoforte,  with  violin,  op.  7  ; 
Six  sonatinas  for  pianoforte,  op.  8. — Fetis  ; 
Gerber,  N.  Lex. ;  Schilling. 

BERTHOLD,  (KARL  FRIEDRICH) 
THEODOR,  born  at  Dresden,  Dec.  18, 
1815,  died  there,  April  28,  1882.  Com- 
poser, pupil  of  Julius  Otto  and  of  Johann 
Schneider.  He  went  with  a  noble  family  to 
Little  Russia  in  1841,  and  became  inspector 
of  music  at  the  Ladies'  Seminary  at  Charkov 
in  1843,  and  at  the  Patriotic  Seminary  in 
St.  Petersburg  in  1849.  He  was  made  also 
professor  of  composition  in  the  Imperial 
Chapel,  and  organist  and  musical  director 
of  the  Lutheran  Church  of  St.  Ann.a.  He 
founded  the  Oratorio  Society  of  St.  Anna, 
and  in  1864  was  called  to  Dresden  to  succeed 


Johann  Schneider  as  court  organist.  Works : 
Petrus,  oratorio  ;  Symphony  ;  Concert  over- 
ture for  orchestra ;  Missa  solennis  ;  Other 
church  music  ;  Pianoforte  pieces,  and  songs. 
— Mendel. 

BERTHOLDO.     See  Bertoldo. 

BERTIN,  LOUISE  ANGELIQUE,  bom 
at  the  Roches,  near  Paris,  Feb.  15,  1805, 
died  iu  Paris,  April  2G,  1877.  Dramatic 
comjjoser,  jjianist,  and  contralto  singer,  pu- 
pil of  Fetis.  Works — Operas  :  Le  loup- 
garou,  given  in  Paris,  1827  ;  Faust,  ib., 
1831 ;  Notre  Dame  de  Paris,  ib.,  1836,  the 
libretto  of  which  was  adaj)ted  by  Victor 
Hugo.  She  also  published  a  collection  of 
Six  Ballades,  and  left  uni^ublished  a  Prayer  ; 
Hymne  a  Apollon,  Le  retour  dAgamemnon  ; 
besides  other  vocal  music  and  symphonies 
for  chamber  music. — Fetis;  do..  Supple- 
ment, i.  81. 

BERTIN,  T.  DE  LA  DOUE,  born  in 
Paris  in  1G80,  died  there  in  1745.  Dra- 
matic composer  ;  took  Lulli's  works  for  his 
model.  He  was  pianoforte  teacher  in  the 
Orleans  family,  organist  of  the  Theatine 
Church,  and  in  1714-34  violinist  and  ac- 
companist at  the  Opera.  Works — Operas  : 
Cassandre  (with  Bouvart),  given  in  1706  ; 
Diomede,  1710  ;  Ajax,  1716  ;  Le  jugement 
de  Paris,  1718  ;  Les  plaisirs  de  la  campagne. 
— Fetis  ;  Mendel ;  Schilling. 

BERTESn,  DOJklENICO,  born  at  Lucca, 
June  26,  1829,  still  living,  1888,  at  Flor- 
ence. Dramatic  composer  and  singer,  pujjil 
under  Pacini  of  the  School  of  Music  at 
Lucca,  where  he  won  all  the  first  prizes  ; 
and,  after  the  eamisaigns  of  1848-49,  in 
which  he  took  part,  jjupil  of  Michele  Puc- 
cini. In  1853  he  became  maestro  concerta- 
tore  of  the  theatre  at  Lucca,  in  1857  director 
of  the  musical  institute  at  Massa  Carrara, 
and  in  18G2  settled  at  Florence,  where 
he  made  himself  known  as  conductor  of  the 
Societa  Cherubini,  and  as  a  musical  critic. 
Works  :  Non  ti  scordar  di  me,  Cinzica  Sis- 
mondi,  operas  ;  Cantata  ;  Mass  ;  Magnificat 
for  4  voices  and  orchestra  ;  Songs. — Fetis, 
Supplement,  i.  82  ;  Mendel,  Ergiinz.,  35. 


176 


BERTINI 


BERTINI,  HENRI  (JEROME),  bom  in 

London,  Oct.  28,  1798,  died  at  Meyl.an, 
near  Grenoble, 
France,  Oct.  1,  1876. 
His  father  was  a 
clever  composer  and 
pianist.  The  young 
Henri  studied  the  pi- 
anoforte first  under 
his  father  and  then 
under  his  elder 
brother,  Auguste, 
who  was  a  pujiil  of  Clenienti.  He  began 
playing  in  public  at  an  early  age,  and  when 
only  twelve  years  old  left  Paris  on  a  concert 
tour  through  the  Low  Countries  and  Ger- 
many. The  admiration  his  talent  excited 
did  not  dissuade  him  from  pursuing  his 
studies  diligently  under  his  father's  guid- 
ance. On  his  return  to  Paris  he  began  his 
studies  in  composition,  and  then  went  to 
live  for  some  time  in  England  and  Scotland. 
In  1821  he  retui-ned  to  Paris,  where  he  re- 
mained, with  few  interruptions,  until  about 
1856,  when  he  retired  to  ]\Ieylan,  breaking 
off  all  relations  with  the  public,  both  as 
pianist  and  composer  ;  he  had  bought  some 
land  at  Meylan,  and  continued  to  live  there 
in  seclusion  until  his  death,  composing  only 
now  and  then  for  a  society  of  orpheouists, 
of  which  he  was  president.  He  is  said  to 
have  refused  the  decoration  of  the  Legion 
of  Honour,  offered  him  by  the  Government 
of  July.  Bertini  was  equally  eminent  as  a 
composer  and  a  pianist ;  his  grace  and  purity 
of  style,  as  well  as  his  high  natural  gifts, 
compel  admiration.  Ho  was  a  classicist  in 
the  best  sense,  and  made  a  stand  against 
the  prevailing  light  salon-vii-tuosity  of  his 
day  in  France,  much  as  Schumann  and 
Mendelssohn  did  in  Germany.  He  is  best 
known  to-day  by  his  pianoforte  studies,  of 
which  there  are  29  sets  ;  almost  all  of  these 
were  originally  published  bj-  Lemoine  in 
Paris,  but  other  editions  have  been  printed 
in  most  of  the  large  cities  in  Eiu-ope  and 
America.  These  studies  have  been  largely 
superseded   to-day  by   similar   works  in  a 


more  modern  style,  and  better  adapted  to 
further  the  ends  of  the  more  brilliant  tech- 
nique of  our  day,  but  the  "Ecole  de  lamu- 
sique  d'ensemble,"  a  collection  of  preludes 
and  fugues  by  Sebastian  Bach  arranged  for 
four  hands,  is  still  of  interest.  Of  Bertini's 
other  compositions,  the  following  are  the 
most  important :  6  trios  for  pianoforte  and 
strings  (Paris,  Lemoine)  ;  .5  serenades  for 
pianoforte  and  strings  (ib.) ;  ■!  sextets 
(ib.)  ;  Nonet  for  pianoforte  and  wind  in- 
struments. The  following  ai-e  posthumous 
works  :  3  nonets  for  pianoforte  and  wind 
instruments  ;  3  .symphonies  for  jiianoforte 
and  orchestra  ;  20  pieces  for  the  pianoforte  ; 
a  Pie  Jesu  composed  foi',  and  sung  at,  Ber- 
tini's funeral. — Grove,  i.  236. 

BERTINI,  SALVATORE,  boru  at  Pa- 
lermo in  1721,  died  there,  Dec.  16,  1794. 
Dramatic  composer,  first  instructed  by  Poz- 
zudo,  tlien  pupil  of  Leo  at  the  Conservatorio 
della  Pieta,  Naj^les.  Having  declined  a 
call  to  St.  Petersburg,  from  religious 
scruples,  he  became  afterwards  maestro  di 
cappella  in  his  native  city,  succeeding  David 
Perez,  who  had  gone  to  Lisbon.  He  brought 
out  successfully  several  operas  in  Palermo, 
Rome,  and  Naples,  and  wrote  oratorios, 
masses,  psalms,  and  other  church  music, 
among  which  are  deserving  of  special  notice 
a  Requiem  mass,  composed  for  the  ob- 
sequies of  Charles  IH.,  1790,  a  Miserere  for 
two  choruses,  and  a  do.  for  four  voices. 
— Fetis;  Mendel. 

BERTOLDO,  SPER'  IN  DIO  (Sperandio). 
born  at  Modena  in  1530,  died  at  Padua,  Aug. 
13,  1570.  Renowned  contrapuntist  and  or- 
ganist at  the  cathedral  at  Padua.  Works : 
Madrigali  a  cinque  voci  (Venice,  1561) ;  do., 
second  book  (ib.,  1562);  Toccate,  ricercate 
e  canzoni  per  1'  organo  (ib.,  1591).  The 
first  two  are  in  the  Royal  Library,  Municli. 
— Fetis. 

BERTON,  FRANyOIS,  born  in  Paris, 
May  3,  1784,  died  there,  July  15,  1832. 
Dramatic  composer,  illegitimate  son  of 
Henri  Montan  Berton  and  Mile  Maillard, 
a  famous  singer ;    pupil  at  the  Conserva- 


BERTON 


toire,  where  be  was  i^rofessor  of  singing  in  ]  I'Epreuve,  given  in  Paris,  Comedie  Italienne, 


1821-27.  Works  :  Monsieur  Desbosquets, 
Theatre  Feydeau,  IblO  ;  Le  present  de 
uoces,  ou  le  pari.  Opera  Comique,  1810  ; 
Jeune  et  vieille  (with  Pradher),  1811 ;  Ni- 
nette a  la  cour,  Opera,  1811  ;  Les  caquets, 
Theatre  Feydeau,  1821  ;  Une  heure  d'ab- 
seuce,  Opera  Comique,  1827  ;  Chateau  d"Ur- 
tuby,  ib.,  1831.— Fetis ;  do.,  Supplement,  i. 
83. 

BERTON,  HENRI   MONTAN,   born   in 
Paris,   Sept.    17, 
1767,  died  there, 
April    22,    1844. 
Dramatic    c  o  m  - 
poser  and  Tioliu- 
ist,     son     and 
pupil    of   Pierre 
Montau  Berton  ; 
pupil  of  Rej-  and 
Sacchini,  and  fol- 
lower of  Paisiello. 
When     fifteen 
years  old  he  was  a  member  of  the  orchestra 
of  the  Opera  (1782),  and  at  nineteen  several  of 
his  oratorios  were  given  at  the  Concerts  Spi- 
rituels,   one,   Absalon  (1786),  meeting  with 
much  success.     When  twenty  years  old  he 
wrote  his   first  opera,  Promesses  de  man- 
age,  played   at   the  Comedie  Italienne   in 
1787,  which  was  followed  by  several  others, 
and  some  of  his  best  were  written  between 
this  time  and  1794.  When  the  Conservatoire 
was  established  he  was  appointed  professor 
of  harmony,  in  1795,  and  he  was  director  of 
the  Italian  opera,  then  called  opera  buffa, 
in  1807-9.     He  introduced  Mozart's  Nozze 
di  Figaro  in  Paris,  and  began  a  reform  in 
French  opera,  by  giving  works  in  which  the 
beauties  of  harmony   and   instrumentation 
were  as   prominent   as  fine  melodies.      In 
1815  he  became  a  member  of  the  Institut 
de  France,  in  1816  Chevalier,  and  in  1834 
Officer  of  the  Legion  of  Honour.     Professor 
of  composition,  and  afterwards  Inspector  at 
the    Conservatoire.      Works— Operas :    Le 


1787  ;  Cora,  Academic  Royale  de  Musique, 
1789  ;  Les  brouilleries,  Comedie  Italienne, 
1789  ;  Les  rigueurs  du  cloitre,  Le  Nouveau 
d'Assas,   ib.,    1790  ;   Les   deux   sentineUes, 
Theatre  Favart,  1791 ;  Eugene,  Theatre  Fey- 
deau, 1793  ;  Agricole  Viala,  ou  le  Heros  de 
la  durance,  ib.,  1794  ;  Ponce  de  Leon,  The- 
atre Favart,   1797 ;  Le  souper  de  famille, 
Le  denoilmeut  inattendu,  ib.,  1798  ;  Mon- 
tauo  et  Stephanie,  L' Amour  bizarre,  Le  De- 
lire,  ou  les  Suites  d'une  erreur,  ib.,  1799  ; 
La  nouvelle   au   camp,  I'Opera,  1799  ;    Le 
Grand   deuil.   Theatre  Favart,  1801  ;    Les 
deux  Sous-lieutenants,  ou  le  Concert  iiiter- 
roinpu.  Theatre  Feydeau,  1802  ;  Aline,  reiue 
de  Golconde,  OjJera  Comique,  1803  ;  La  Ro- 
mance,  ib.,    1804 ;  Delia   et   Verdikan,    Le 
vaisseau  amiral,  ib.,   1805  ;  Les  Maris-gar- 
yons,  ib.,  1806 ;  Le  Chevalier  de  Seuanges, 
Ninon     chez     Madame    de    Scvigne,     ib., 
1808  ;  Franyoise  de  Foix,  ib.,  1809  ;  L'En- 
levemeut    des    Sabines,    ballet,    Foutaine- 
bleau,    1810  ;   Le   charme   de  la  voix  ;  La 
victime  des  arts  (with  Isouard  and  Solie), 
ib.,  1811;    L 'Enfant   prodigue,  ballet,  O- 
pera,  1812  ;  Valentin,  ou  le  Paysan  roma- 
nesque,  Opera  Comique,  1813  ;  L'Oriflamme 
(with   Mehul,   Paer,  and  Kreutzer),  Ojaera, 
1814  ;  L'heureux  retour,   ballet  (with  Per- 
suis  and  Kreutzer),  1815  ;  Les  dieux  rivaux, 
opera-ballet  (with    Sj)ontini,    Persuis,    and 
Ki-eutzer),  Academie  Royale,  1816  ;  Feodor, 
ou   le  Batelier  du   Don,   Opera   Comique, 
1810  ;  Roger  de  Sicile,  I'Opera,  1817  ;  Cori- 
sandre,  Opera  Comique,  1820  ;  Blanche  de 
Provence    (with  Boieldieu,  Cherubini,  and 
Paer),   Opera,   1821 ;   Virginie,  ou  les  De- 
cemvirs,   ib.,    1823 ;    Les    deux    mousque- 
taires.  Opera   Comique,  1824  ;  La  mere  et 
la   fille  (not   performed)  ;    Aline,  reine   de 
Golconde,    ballet  (with    Dugazon),    1825  ; 
Pharamond  (with  Boieldieu  and  Kreutzer), 
Academie  Royale,  1825  ;   Les  Creoles,  Opera 
Comique,  1826  ;  Les  petits  appartements, 
ib.,  1827.    Oratorios  :  Absalon,  Jephte,  Da 


premier  navigateur  (1786)  ;  Les  promesses  vid  dans  son  Temple,  Les  Bergers  de  Beth- 
de  mariage,  La  dame  invisible,  ou  I'Araant  i\  leem,  La  Gloire  de  Lyon,  iu  the  Concerts 


178 


BERTON 


Spirituels,  1786-90.  Cantatas :  Jlaiie  de 
Seymours,  Orphee  daus  les  bois,  ib.  ;  Trasi- 
bule,  Hotel  de  ViUe,  1804  ;  Thesee,  Brus- 
sels, 1805  ;  Le  Chant  du  letour  (after  the 
campaign  of  1805),  Optra  Comique,  1807  ; 
and  many  romances,  besides  several  collec- 
tions of  canons.  He  was  the  author  of 
several  didactic  works  ;  "  Arbre  genealo- 
gique  des  Accords  ;"  "Un  traitc  d'harmonie 


base  sur  I'Arbre  getiealogique  ;  "  "  Diction- 
uaire  des  Accords,"  -4  vols.  (Paris,  1815). 
— Futis  ;  do..  Supplement,  i.  82  ;  Mendel ; 
Schilling,  i.  593  ;  Supplement,  43. 

BERTON,  PIERRE  JIONTAN,  born  in 
Paris  in  1727,  died  there.  May  14,  1780. 
Dramatic  eomj)oser  and  organist.  He  read 
music  at  sight  when  six  years  old,  composed 
motets  when  twelve,  which  were  j^layed  at 
the  Cathedral  of  Senlis,  and  was  for  several 
years  a  member  of  the  choir  of  Notre  Dame 
de  Paris.  In  1744  he  made  his  debut  as 
an  opera  singer,  became  chef  d'orchestre 
at  the  Opera,  Bordeaux,  in  1746,  and  or- 
ganist of  two  churches  in  that  citv.  In 
1755  he  became  chef  d'orchestre  at  the 
Opera  in  Paris,  and  director-general  in 
177G.  Works— Operas:  Deucalion  et  Pyr- 
rha  (with  Giraud),  1755  ;  £rosiue  (words 
by  Moncrief),  17G8  ;  Sylvia  (with  Trial), 
176G;  Theonis  (with  Trial  and  Granier), 
1707 ;  AdUe  de  Ponthieu  (with  Laborde), 
1773.  He  is  best  known  by  his  arrange- 
ments of  other  authors'  works.  He  wrote 
airs  for  the  ballet  in  Camille  by  Campra, 
for  Iphigenie  en  Tauride  by  the  same,  for 
Castor  and  Pollux  and  Dardanus,  by  Ra- 
meau,  introducing  the  Chaconne  de  Berton. 
— Fetis  ;  do..  Supplement,  i.  82. 

BERTONI,  FERDINANDO  GKTSEPPE, 
born  on  the  island  of  Salo,  near  Voiuce, 
Aug.  15,  1725,  died   at  Desenzano,  Dec.  1, 


1813.  Dramatic  composer  and  organist, 
pupil  of  Padre  Martini.     He   went   about 

1745  to  Venice,  where  he  became  celebrated 
as  a  teacher.  He  was  organist  of  S.  Marco 
from  1752,  and  choir-master  of  the  Con- 
servatorio  de'  Mendicanti  in  1757-97.  He 
visited  London  in  1778-80,  and  in  1781-83, 
to  bring  out  some  of  his  ojjeras,  succeeded 
Galuppi  as  maestro  di  cappella  at  S.  Marco 
in  1784,  and  retired  to  Desenzano  in  1810. 
His  best  works,  principally  oratorios  and 
church  music,  were  written  between  1743 
and  1760.  Works — Operas :  Orazii  ed  e 
Curiazii,  La  Vedova  accorta,  given  in  Venice, 

1746  ;  Cajetto,  ib.,  Palazzo  Labia,  1747  ; 
Ipermestra,  Venice,  1748  ;  Le  Pescatrice,  ib., 
1752 ;  Ginevra,  ib.,  1753 ;  La  Moda,  ib., 
1754;  Le  Vicende  amorose,  ib.,  1760;  La 
bella  Girometta,  ib.,  1761 ;  Amore  in  Mu- 
sica,  ib.,  1763;  Achille  in  Sciro,  L'  Ingau- 
natore  ingannato,  ib.,  1704  ;  L'  Olympiade, 
Naples,  1765 ;  L'  Isola  di  Calipso,  dramatic 
cantata,  Venice,  Palazzo  Rezzonico  ;  Ales- 
sandro  nelle  Indie,  1770 ;  L'  Anello  incan- 
tato,  1771 ;  Andromacca,  Venice,  1772  ;  Ai-is- 
to  e  Temira,  1774 ;  Orfeo,  Venice,  1776  ; 
Ezio,  Telemacco,  ib.,  1777;  Quinto  Fabio, 
Padua  and  London,  1778  ;  Tancredi,  Venice, 
1778  ;  Artaserse,  London,  1780 ;  Armida, 
Venice,  1781 ;  Eumeue,  ib.,  1784  ;  Artaserse 
(second),  il.).,  1786  ;  Narbale,  Naples,  about 
1787;  Cajo  Mario,  about  1788;  La  Nitteti, 
Najiles,  1789  ;  Ifigenia  in  Aulide,  Trieste, 
1790  ;  Antigouo.  Oratorios :  II  Figliuol 
l^rodigo,  i^erformed  at  Sta.  Maria  della  Fava, 
1747 ;  Perigrinatio  ad  sanctum  Domini  se- 
pulchrum,  1753  ;  David  penitens,  Conserva- 
torio  de'  Mendicanti,  1775  ;  Joas ;  Susanna  ; 
Requiem  mass,  Chiesa  dei  Serviti,  1792. 
Among  his  finest  works  for  the  church  are 
the  psalms,  Beatus  vir,  and  Lstatus  sum, 
and  the  Improperia  written  for  the  ducal 
chapel  of  S.  Marco  ;  6  sonatas  for  harpsi- 
chord and  violin,  op.  1  (Berlin,  1789) ;  6 
quartets  for  two  violins,  viola,  and  violon- 
cello (Venice,  1793) ;  6  sonatas  for  liarpsi- 
chord  (Paris,  1780).— Fetis  ;  Gerber,  Hist. 
Lex. ;  do.,  N.  Lex.  ;  Schilling. 


JT9 


BERWALD 


BERWALD,  JOHANN  FRIEDRICH, 
boru  iu  Stockholm,  Sweden,  July  23,  1788, 
died  there,  Sejitember,  1861.  Violinist,  son 
of  one  of  the  chamber  musicians  to  the 
King  of  Sweden,  and  pupil  of  the  Abbe 
Vogler.  Before  he  was  ten  years  old  he 
travelled  as  an  infant  i^rodigy  ;  in  1806  he 
became  a  chamber  musician  to  the  king, 
and  from  1819  until  his  death  he  was 
conductor  and  Kapellmeister  in  Stockholm. 
■  His  three  daughters  were  singers.  Works  : 
3  polonaises  for  pianoforte  and  violin,  op. 
1,  1791 ;  Symphon}'  for  orchestra,  1799  ;  3 
quartets  for  stringed  instruments,  1808 ; 
Sonata  for  pianoforte,  op.  6  ;  and  songs. 
His  cousin,  Franz  Berwald  (born  in  Stock- 
holm, 1796,  died  there,  April  3,  1868),  com- 
posed much  instrumental  music,  and  an 
opera,  Estrella  de  Soria,  given  in  Stock- 
holm.— Ft'tis  ;  Gerber,  N.  Lex. ;  Mendel. 

BESANZONI,  FERDINANDO,  born  at 
Piacenza,  Italy,  in  1821,  'still  living,  1888. 
Dramatic  composer ;  became  maestro  di  cap- 
pella  of  the  Italian  opera,  Berlin,  in  1845,  but 
soon  returned  to  his  native  land.  His  op- 
era, Ruy  Bias,  was  given  with  much  success 
at  Piacenza,  1843. 

BESLER,  SAMUEL,  born  at  Brieg,  Si- 
lesia, Dec.  15,  1574,  died  iu  Breslau,  July 
19,  1025.  Rector  of  the  Gymnasium  zum 
Heiligen  Geist,  Breslau,  1605.  A  large  col- 
lection of  his  comijositious  are  jjreserved 
in  the  library  of  St.  Bernhardiuus,  Breslau, 
among  which  is  a  Passion  after  St.  John, 
I^rinted  by  Baumann  (Breslau,  1621). — Fe- 
tis  ;  Mendel ;  Schilling. 

BESSEMS,  ANTOINE,  born  at  Antwerp, 
April  6,  1809,  died  in  Paris,  Oct.  19,  1868. 
Violinist,  pupil  of  Baillot  at  the  Conserva- 
toire, Paris  ;  for  several  years  first  violin  at 
the  Theatre  Italien,  then  made  a  concert 
tour  through  Belgium,  Germany,  Italy,  and 
England,  returned  to  Paris,  and  in  1847- 
52  conducted  the  orchestra  of  the  Societe 
Royale  d'Harmonie  at  Antwerp.  Works: 
3  masses  for  four  voices  and  orchestra ;  2 
psalms  for  do.  ;  Several  motets,  with  or- 
chestra   or    organ ;    Canticles,    oflertories. 


,-*»»■ 


Art,  London,   1852; 


graduales,  etc.,  with  do.,  or  quartet ;  Hymn, 
with  chorus  and  two  orchestras ;  Concerto 
for  violin,  with  orchestra ;  Fantaisies  for 
do.;  12  grandes  etudes,  with  pianoforte; 
Duos,  trios,  quartets,  for  strings  ;  12  grand 
duos  de  concert,  for  pianoforte  and  violin 
(with  Jules  Dejazet)  ;  Melodies  for  violin  ; 
do.  for  pianoforte  ;  do.  for  violoncello  ;  do. 
for  one  and  several  voices,  etc. — Fetis ; 
Mendel. 

BEST,  WILLIAM  THOMAS,  boru  at 
Carlisle,  England,  Aug. 
13,  1826,  still  living, 
1888.  Organist ;  pupil 
of  Young,  organist  of 
Carlisle  Cathedral.  He 
has  held  many  impor- 
tant positions,  such  as 
organist  of  the  Liver- 
pool Philharmonic  So- 
ciety, 1848  ;  of  the  Pan- 
opticon of  Science  and 
of  St.  Martin-in-the- 
Fields,  Loudon,  1852 ;  of  Lincoln's  Inn 
Chapel,  1854  ;  of  St.  George's  Hall,  Livei"- 
pool,  1855  ;  of  Church  of  Wallasay,  Birken- 
head, 1800  ;  of  Holy  Trinity,  near  Liverpool, 
1863 ;  of  the  Musical  Society,  Liverpool, 
1808  ;  of  Royal  Albert  Hall,  1871 ;  of  the 
Philharmonic  Society,  Liverpool,  1872 ;  of 
West  Derby  Church,'  1879.  Mr.  Best,  who 
is  one  of  the  greatest  masters  of  the  organ 
in  Great  Britain,  still  holds  several  of  the 
most  important  of  these  positions,  and  has 
jjlajed  iu  manj'  of  the  principal  cities  of 
Europe.  He  is  the  author  of  many  com- 
positions for  the  organ  and  pianoforte,  of 
church  services,  anthems,  hymns,  and  minor 
vocal  pieces,  and  of  several  standard  didactic 
works.  His  anthems  are  in  constant  use  iu 
English  churches. — Grove  ;  Mendel ;  Brown. 
BE  THOU  FAITHFUL  UNTO  DEATH. 
See  Se'l  getreu  bis  in  den  Tod. 

BETLY,  Italian  opera  in  two  acts,  text 
and  music  by  Donizetti,  first  represented  in 
Najjles,  1836 ;  and  in  Paris,  at  the  Opera, 
Dec.  27,  1853,  in  a  French  translation  by 
Hippolyte   Lucas.      Donizetti's   text   is  an 


180 


BETULIA 


adaptation  of  "Le  clialet,"  by  Scribe  aud 
Melesville  (music  by  Adam,  1834),  wbicli  iu 
turn  is  from  Goetbe's  "  Jery  und  Biitely." 
Betly  was  unsuccessful  in  Paris,  notwitb- 
standing  tbat  the  jnincipal  cbaracter  was 
sustained  by  Madame  Bosio.  Betly  was  one 
of  Alboni's  favourite  parts. 

BETULIA  TJBERATA  (Betbulia  Freed), 
Italian  sacred  drama  iu  two  parts,  text  by 
Metastasio,  music  by  Georg  Reutter,  com- 
posed by  command  of  tbe  Emperor  Charles 
VI.,  and  first  rejwesented  in  tbe  Imperial 
Chapel,  Vienna,  1734.  Subject  from  the 
apocbryphal  book  of  Judith.  Scene,  the 
city  of  Betbulia.  Chai'acters  represented  : 
Ozia,  Prince  of  Betbulia ;  Giuditta,  widow 
of  Manasseh  ;  Aniital,  a  noble  Israelitish 
maiden  ;  Acbior,  Prince  of  tbe  Ammonites  ; 
Cabri  and  Carmi,  leaders  of  tbe  people  ; 
chorus  of  inbabitauts  of  Betbulia.  The 
same  libretto  was  set,  probably  iu  1771,  by 
Mozart,  and  performed  at  Padua  during 
Lent  in  1772  (publisbed  by  Breitkopf  & 
Hiirtel,  Mozart's  Werke,  Cantaten  und  Ora- 
torien,  No.  4)  ;  also  by  Cafl'aro,  and  repre- 
sented in  Naples  about  1778. 

BEVIN,  EL  WAY,  born  in  Wales,  flour- 
ished towards  tbe  end  of  the  reign  of  Eliz- 
abetb.  Organist,  pupil  of  Tallis,  ou  whose 
recommendation  be  was  apjjointed  organist 
of  tbe  cathedral  of  Bristol.  His  onlj'  com- 
position known  to-day  is  tbe  first  service  of 
four  aud  five  parts,  ijublished  in  Barnard's 
collection :  First  Book  of  selected  Church 
Musick  (1C41).— Grove  ;  Fetis. 

BEYER,  JOHANN  SAMUEL,  born  at 
Gotba  in  1GG9,  died  at  Carlsbad,  Bohemia, 
May  9,  1744.  Composer,  cantor  at  Frei- 
berg, 1697,  at  Weissenfels,  1722,  tben  di- 
rector of  music  at  Freiberg,  1728.  Works  : 
Pianoforte  music,  chiefly  instructive ;  Pri- 
mse  linese  musicse  vocalis  (Freiberg,  1703) ; 
Musikalischer  Vorratb  neu  variirter  Fest- 
Cboral-Gesange  (ib.,  1710)  ;  Geistlieb  musi- 
kaliscbe  Seelenfreude,  containing  72  con- 
cert arias  (ib.,  1724).— Fetis;  Mendel. 

BEXFIELD,  WILLIA]M  RICHARD,  born 
at  Norwich,  England,  April  27,  1824,  died 


iu  London,  Oct.  29,  1853.  Church  com- 
poser, pupil  of  Dr.  Zechariab  Buck,  under 
whom  he  was  a  chorister  in  the  cathedral. 
He  became  organist  in  Boston,  Lincoln- 
shire, and  iu  184G  graduated  at  Oxford  as 
Bacbelor  of  Music ;  in  1848  he  was  ap- 
pointed organist  of  St.  Helen's,  London, 
and  in  1849  received  the  degree  of  Doctor 
of  Music  at  Cambridge.  Works :  hrad 
Restored,  oratorio,  given  at  Norwich  Mu- 
sical Festival,  18.52,  and  reproduced  iii 
1879  ;  Church  anthems  (London) ;  Set  of 
fugues  for  organ  (ib.)  ;  Songs  and  part 
songs  ;  Organ  music. — Grove  ;  Brown. 

BIAGI,  ALAMANNO,  born  in  Florence, 
Dec.  20,  1806,  died  there,  June  26,  1861. 
Violinist,  pupil  of  tbe  Florence  Academy  ; 
became  one  of  the  ablest  orchestra  conduc- 
tors of  his  time,  aud  conducted  for  many 
years  the  music  at  the  grand-ducal  court  of 
Tuscan}-.  He  has  left  compositions  in  every 
branch,  excepting  the  dramatic  ;  among  bis 
instrumental  works,  a  quartet  for  strings, 
which  won  a  jjrize,  is  especially  noteworthy. 
— Fetis  ;  do..  Supplement,  i.  87. 

BIAGI,  ALESSANDRO,  born  at  Flor- 
ence, Jan.  20,  1819,  died,  Feb.  28,  1884. 
Pianist,  fir.st  instructed  by  one  of  his  broth- 
ers, then  at  tbe  Academy  pupil  of  Geremia 
Sbolci  and  Palafuti  on  the  pianoforte,  and 
of  Nencini  in  counterpoint ;  he  won  the 
first  i^rize  in  both  classes,  and  in  1857  be- 
came professor  at  the  Academy,  succeeding 
Palafuti.  Works  :  La  secchia  rapita,  opera 
buffii,  given  at  Florence,  Teatro  de  la  Per- 
gola, 1830 ;  Gonzalvo  di  Cordova,  opera, 
ib.,  Teatro  Nazionale,  1857  ;  Cantico  di  Zac- 
caria,  for  four  voices,  cboiiis,  and  orchestra 
(1858);  Padre  Nostro  (Dante);  Pianoforte 
pieces  and  songs. — Fctis,  Supph'meut,  i. 
88. 

BL\L,  RUDOLF,  born  at  Habelschwerdt, 
Silesia,  Aug.  26,  1834,  died  iu  New  York, 
Nov.  13,  1881.  Violinist,  until  1853,  in  the 
theatre  orchestra  at  Breslau,  tben  made 
a  concert  tour  to  Africa  and  Australia 
with  his  brother,  the  pianist  Karl  Bial 
(born  in  1833) ;  settled  in  Berlin,  where  he 


BIANCA 


was  Conzertmeister  of  Kroll's  orcbestra, 
then  (1864)  Kapellmeister  at  tbe  Walluer 
Theater,  later  director  of  the  Italian  ojj- 
era,  and  finally  established  a  concert  en- 
terprise in  New  York.  Works  :  Herr  von 
Papillon,  operetta,  text  by  Fellechuer,  given 
in  Berlin,  Wallner  Theater,  January,  1870  ; 
Der  Liebesriug,  opera  butia,  three  acts, 
text  by  Fellechner,  ib.,  Friedrich-Wilhelm- 
stildtisches  Theater,  Dec.  4,  1875  ;  Ein 
kluger  JMaun,  ib.,  January-,  187G  ;  Many  or- 
chestral pieces. — Mendel. 

BIANCA ;  or,  The  Bravo's  Bride,  grand 
opera  in  four  acts,  text  by  Palgrave  Simp- 
son, music  by  Balfe,  represented  at  Covent 
Garden,  London,  Dec.  6,  18G0.  The  libretto 
is  founded  on  Matthew  Gregory  Lewis's 
romance,  "  The  Bravo  of  Venice  "  (1804), 
which  also  served  as  a  melodrama  under  the 
title  of  "  Rugantino  "  (1805).  This  opera, 
jjroduced  by  the  Pyne  Harrison  Company, 
achieved  a  legitimate  success.  —  Barret, 
Balfe,  235. 

BIANCA  CAPELLO,  opera,  text  by  Jules 
Barbier,  music  by  Salomon,  represented  at 
Antwerp,  Feb.  1,  188G.  It  had  a  moderate 
success. 

BIANCA  E  FALIERO,  Italian  opera,  text 
after  Manzoni's  "  Coute  di  Carmaguola," 
music  bj'  Rossini,  represented  at  La  Scala, 
Milan,  Dec.  26,  1819.  One  of  Rossini's 
failures  ;  some  of  its  best  numbers  were 
transferred  by  him  to  other  operas. 

BLANCA  E  FERNANDO,  Italian  opera, 
music  by  Bellini,  represented  at  Naples, 
June  30,  1826.  Interpreted  by  Rubini, 
Lablache,  and  Mme  Mt'ric-Lalande,  this 
work  met  with  success,  but  it  is  now  for- 
gotten. 

BIANCHI,  ANTONIO,  born  in  Milan  in 
1758,  died  (?).  Dramatic  singer  and  com- 
poser, made  his  musical  studies  in  Milan, 
and  appeared  successfully  there,  and  at 
Genoa,  Paris,  and  Hanover.  For  a  time  in 
the  service  of  the  Duke  of  Nassau,  he  ob- 
tained an  engagement  in  Berlin  in  1793-97, 
then  sang  in  Hamburg,  Breslau,  Di-esden, 
Leipsic,  and  Brunswick.    Works  :  Die  Insel 


der  Alcina,  given  in  Berlin,  1794 ;  Fileno  e 
Clorinda,  intermezzo  pastorale,  ib.,  1796  ; 
Die  Eutfiihrung,  oder  das  Feldlager,  by  De- 
seuzano,  ballet  ;  French  and  ItaUan  songs. 
— Fetis  ;  Gerber,  N.  Lex.;  Mendel. 

BIANCHI,  ELIODORO,  Italian  com- 
poser, contemporary.  He  is  the  author  of 
Gara  d'  amore,  Italian  opera,  rejsreseuted 
at  Bari,  July,  1873. 

BI.INCHI,  FRANCESCO,  born  at  Cre- 
mona, Italj-,  in  1752,  died  by  suicide  at 
Hammersmith,  London,  Nov.  27,  1810. 
Dramatic  composer.  At  iirst  maestro  di  cap- 
pella  in  Cremona,  he  became  a  member  of 
the  orchestra  of  the  Italian  Oj^era,  Paris,  in 
1775,  assistant  conductor  of  S.  Ambrogio, 
Milan,  in  1784,  and  second  organist  of  S. 
Marco,  Venice,  in  1785.  About  1796  he 
went  to  London,  where  he  was  connected 
for  seven  years  with  the  King's  Theatre. 
During  the  last  ten  years  of  his  life  he  was 
occupied  chiefly  in  teaching,  numbering 
among  his  pupils  Sir  Henry  Bishop  and 
others  who  won  eminence.  His  operas, 
pleasing  but  with  little  originahty,  are  now 
forgotten.  Works — Operas  :  La  reduction 
de  Paris,  given  in  Paris,  Comedie  Italienne, 
1775  ;  Le  mort  marie,  ili.,  1777  ;  Castor  e 
Polluce,  Florence,  1780 ;  Venere  e  Adone, 
ib.,  1781  ;  II  trionfo  della  pace,  Venice, 
1782  ;  Demofooute,  Ai-bace,  ib.,  1783  ;  Cajo 
Mario,  Naples,  1784  ;  Briseide,  Turin,  1784  ; 
La  caccia  d'  Enrico  IV.,  Venice,  1784 ;  As- 
parde,  jirincipe  Battriano,  Rome,  1784  ;  H 
Medonte,  Reggio,  1785  ;  II  dissertore,  Ven- 
ice, 1785 ;  La  villanella  rapita,  1785  ;  Pi- 
ramo  e  Tisbe,  La  vergiue  del  sole,  Venice, 
1786  ;  Scipione  Africano,  La  secchia  rapita, 
Naples,  1787  ;  L'  orfauo  della  China,  Ven- 
ice, 1787  ;  Pizarro,  ib.,  1788  ;  Mesenzio,  Na- 
ples, 1788 ;  Alessaudi-o  nell'  Indie,  Brescia, 
1788;  Tarara,  Venice,  1788;  B  ritratto, 
Naples,  1788 ;  L'  Inglese  stravagante,  Bo- 
logna, 1789 ;  H  gatto,  Brescia,  1789  ;  La 
morte  di  Giulio  Cesare,  Venice,  1789 ;  L' 
Arniinio,  Florence,  1790  ;  La  dama  bizarra, 
Rome,  1790;  Cajo  Ostilio,  ib.,  1791;  Se- 
leuco,  Leghorn,   1792;  II    finto    Astrologo, 


182 


BIANCllI 


Turiu,  1792  ;  La  capricciosa  ravveduta, 
Venice,  1793  ;  L'  Olandese  in  Venezia,  ib., 
1794  ;  Lo  stravagante,  ib.,  1795  ;  Zenobia, 
Inez  de  Castro,  Aci  e  Galatea,  London, 
1797;  Seiuiramide,  Venice,  1798;  Meropo 
(his  best  work),  London,  1790.  Oratorios  : 
Agar  ;  Joas.-  Fetis  ;  do.,  Siipijlemeiit,  i.  88  ; 
Gerber,  N.  Lex.;  Schilling. 

BIANCHI,  PIETRO  ANTONIO,  boiu  in 
Venice  about  1530.  Vocal  composer,  cano- 
uicus  regularis  of  S.  Salvatore,  Venice,  then 
chaplain  of  Archduke  Ferdinand  of  Austria. 
Most  of  his  works  are  lost  ;  those  still  ex- 
tant are  :  Canzoni  Napoletaue  a  tre  voci 
(Venice,  1572)  ;  Sacri  concentus,  octo  voci- 
bus,  etc.  (ib.,  1609)  ;  Motets  in  Abraham 
Schad's  "Promptuarium  musicuuj." — Fetis  ; 
Gerber,  N.  Lex.  ;  Schilling. 

BIANCIARDI,  FRANCESCO,  born  at 
Casola,  near  Siena,  Italy,  in  the  last  quarter 
of  the  16th  century,  died  at  Siena,  aged 
thirty-five.  He  is  said  to  have  been  one  of 
the  first  contrapuntists  who  wrote  on  the 
basso  continuo.  He  was  maestro  di  cap- 
pella  of  the  cathedral  at  Siena  about  IGOO, 
and  Accademico  intronato.  Works  :  3  books 
of  motets,  for  4,  5,  6,  and  8  voices  (Venice, 
Gardano,  1596-1607)  ;  4  books  of  motets 
for  2,  3,  and  4  voices,  with  organ  (1599- 
1608)  ;  3  books  of  motets  without  organ 
(1600)  ;  2  books  of  masses  for  4  and  8 
voices,  without  organ  (Venice,  Gardano, 
1604-5) ;  Psalms  for  4  voices  (Venice,  1604). 
— Fetis  ;  Mendel ;  Schilling. 

BIBER,  HEINEICH  JOHANN  FRANZ 
VON,  born  in 
Wartenberg,  Bo- 
hemia, in  1644, 
died  in  Salzburg, 
May  3,  1704. 
He  was  a  famous 
violinist  and 
composer  for  the 
violin,  and  one 
of  the  chief,  if 
not  the  chief, 
founders  of  the  German  violin  school.     His 


Emperor  Leopold  I.,  besides  other  gifts, 
presented  him  with  a  patent  of  uobility. 
He  was  probably  the  first  German  who  tried 
to  raise  the  art  of  violin  writing  above  the 
level  of  a  mere  display  of  virtuosity  ;  his 
style,  if  closely  related  to  that  of  his  best 
Italian  contemporaries,  is  noted  for  a  cer- 
tain Teutonic  severity  and  pathos.  Judg- 
iu"'  from  his  compositions,  his  technique, 
both  in  double-stopping  and  bowing,  was 
very  considerable  ;  he  seems  to  have  been 
the  first  to  alter  the  usual  tuning  of  the 
violin  to  facilitate  polyphonic  inlaying  in 
otherwise  unfavorable  keys.  He  was  liber- 
ally patronized  by  the  princes  Ferdinand 
Marie  and  Maximilian  Emanuel  of  Bavaria, 
and  during  the  latter  part  of  his  life  he  ex- 
ercised the  functions  of  high  steward  and 
maestro  di  cappella  to  the  Prince  Ai'cli- 
bishop  of  Salzburg.  Published  works  :  Six 
sonatas  for  violin  and  continuo  (Salzburg, 
1681 ;  the  sixth  of  these  in  Ferdinand  David's 
"Hohe  Schule  des  Violinspiels,"  Leii> 
sic,  Breitkopf  &  Hiirtel)  ;  Fidicinium  sacro- 
jsrofanum,  12  sonatas  for  four  and  five  in- 
struments (Nuremberg,  no  date)  ;  Harmonia 
artificioso-ariosa  in  septem  partes  vel  parti- 
tas distributa,  for  3  instruments  (Nurem- 
berg, no  date)  ;  Souat:e  du?e  tarn  aris  quam 
aulis  servientes  (Salzburg,  1676) ;  Vesperpe 
longiores  ac  breviores,  una  cum  litauis  Laure- 
tanis  a  quatuor  vocibus,  duobus  violin,  et 
duabus  violis  in  concerto,  additis  quatuor 
vocibus  in  capella,  atque  tribus  trombonis 
ex  ripienis  desumendis  ad  libitum  (Salz- 
burg, 1693).  The  MS.  of  a  Dramma  musi- 
cale  is  in  the  Salzburg  Museum.  Biber's 
portrait  was  engraved  in  Germany  in  his 
thirty-sixth  year. — Wasielewski,  Die  Violine 
und  ihre  Meister,  148  ;  Grove,  i.  240. 

BIBL,  ANDREAS,  born  in  Vienna,  April 
8,  1797,  died  there,  April  30,  1878.  Organ- 
ist, pupil  of  Josef  Preindl,  and  so  proficient 
that  he  became  organist  of  the  parish  church 
of  St.  Leopold  in  1816,  and  of  St.  Stephen's 
Cathedral  and  St.  Peter's  Clinrch  in  1818. 
Works — For  organ  :  12  preludes,  op.  3  (Vi- 


reputatiou  was  great  in  his  day,  and  the  ,  enna,  Diabelli) ;  32  versets,  op.  7  (ib.) ;  do. 


183 


BIBLIS 


cadences,  op.  10  (ib.)  ;  3  preludes,  op.  11 
(ib.)  ;  do.,  op.  13  (ib.)  ;  do.,  op.  15  (Vienna, 
Haslinger)  ;  Preludes  for  use  at  church 
festivals,  op.  12  (Vienna,  Diabelli)  ;  20  pre- 
ludes for  requiem  masses,  op.  16  (ib.)  ; 
Fugue,  op.  17  (ib.)  ;  Prelude  and  fugue, 
op.  23  (ib.) ;  2  fugues  on  themes  by  Al- 
brechtsberger  (ib.)  ;  do.  on  themes  by 
Preindl  (ib.).  Church  music  :  Salve  Eegina 
for  four  voices  and  organ,  op.  5  (Vienna, 
Mechetti)  ;  3  Ave  Maria  for  do.,  op.  6  (ib.)  ; 
2  Tantum  ergo  for  do.,  op.  8  (Vienna,  Dia^ 
belli) ;  In  te  Domine  speravi,  gradual  for  i 
voices,  2  violins,  viola,  violoncello,  double- 
bass,  and  organ,  oj).  9  (ib.) ;  Lsetamini  in 
Domino,  offertory  for  tenor,  chorus,  2  vio- 
lins, viola,  violoncello,  double-bass,  organ, 
2  oboes,  2  trumpets,  trombones,  and  drums, 
op.  18  (ib.) ;  Ave  Maria,  gradual  for  4 
voices,  2  violins,  viola,  violoncello,  double- 
bass,  organ  obligato,  2  clarinets,  and  2  bas- 
soons, op.  19  (ib.)  ;  Mass  for  4  voices,  2 
violins,  viola,  bass,  2  clarinets,  2  horns,  2 
trumpets,  drums,  and  organ,  op.  20  (Vi- 
enna, Haslinger) ;  Tantum  ergo  for  soprano, 
chorus,  and  oi'chesfra,  op.  21  (ib.) ;  do.  for 
contralto,  chorus,  and  orchestra,  op.  22  (ib.). 
His  son  Rudolf  (born  in  Vienna,  Jan.  C, 
1832)  jiupil  of  Sechter,  became  organist  at 
St.  Stephen's  in  1859,  and  of  the  Imperial 
Chajiel  in  1SG3.  He  has  composed  church 
and  chamber  music  of  considerable  merit. 
— Allgem.  "Wiener  mus.  Zeitg.  (1811),  No. 
34  ;  Fc'tis  ;  Wurzbach. 

BIBLIS,  opera  in  five  acts,  text  by  Fleury, 
music  by  Lacoste,  represented  at  the  Opera, 
Paris,  Nov.  6,  1732.  Subject,  the  love  of 
Byblis  for  her  own  brother  Caunus,  as  re- 
lated by  Ovid  (Met.,  ix.  446-4G5). 

BIEGO,  PAOLO,  born  in  Venice  about 
1650.  Dramatic  composer,  author  of  tbeoi^e- 
ras :  Ottone  il  Grande,  given  in  Venice,  1688  ; 
Fortuna  tra  le  disgrazie,  Pertinace,  ib.,  1689. 

BTELATI,  ALESSANDRO,  Italian  com- 
poser, born  at  Genoa,  contemporary.  He 
is  author  of  11  conscritto,  opera  buffa, 
given  at  San  Pietro  d'  Arena,  Piedmont, 
1841 ;  and  Ettore  Fieramosca. 


BIEREY,  GOTTLOB  BENEDICT,  born 
in  Dresden,  July  25,  1772,  died  at  Breslau, 
May  5,  1840.  Dramatic  composer  ;  pupil 
of  his  father,  a  professor  of  music,  and  of 
Weinlig  in  harmony  and  composition.  He 
was  director  of  music  in  several  travelling 
opera  companies,  and  in  1807  in  Vienna, 
where  Lis  opera  of  Wladimir  was  played 
with  much  success.  This  procured  him  the 
appointment  of  Kapellmeister  at  Breslau  to 
succeed  C  M.  von  Weber,  and  in  1824  he 
became  director  of  the  theatre  there.  He 
resigned  in  1828,  and  lived  alternately  at 
Leipsic,  Weimar,  Wiesbaden,  and  Mainz, 
but  ultimately  returned  to  Breslau.  Works  : 
Of  his  26  operas,  mostly  comic,  the  most 
prominent  are  :  Der  Zauberhain,  given  at 
Ballenstiidt,  1799  ;  Das  Blumenmiidchen, 
Leipsic,  1802  ;  Klara,  Herzogin  von  Breta- 
nien,  ib.,  1803  ;  Rosette,  das  Schwerzermiid- 
chen,  ib.,  1806  ;  Der  Uberfall,  Breslau, 
1809  ;  Der  Gemsenjiiger,  Das  unsichtbare 
Miidchen,  ib.,  1811  ;  Almazinde,  oder  die 
Hohle  Sesam,  Berlin,  1814  ;  Pj-ramus  und 
Thisbe,  Breslau,  1814  ;  Der  Apfeldieb  ;  Jery 
und  Bsitely  ;  Der  Madchenmarkt ;  Die  bose 
Frail ;  Liebesabenteuer  ;  Der  betrogene  Be- 
triiger.  Cantatas  :  Die  Sachsen  im  Lager  ; 
Das  Opfer  der  Menschenliebe  ;  Die  Feier 
des  Friihlings  (3  under  this  title) ;  Der  Sieg 
Amors  ;  II  Tributo  di  rispetto  e  d'  amore, 
cantata  on  the  death  of  Duke  Ferdinand  of 
Brunswick  ;  Das  Erndtefest ;  L'  Inverno, 
ovvero  la  provida  pastorella  ;  Osterkantate 
(Leipsic,  1805)  ;  Overtures  and  marches  for 
orchestra  ;  Several  collections  of  songs  with 
pianoforte  (Berlin,  Leipsic,  and  Breslau). — 
Allgem.  d.  Biogr.,  ii.  628 ;  Allgem.  mus. 
Zeit.,  iv.  516  ;  vi.  207,  803  ;  xiii.  241,  843  ; 
xlii.  506  ;  Fi'tis  ;  Gerber,  N.  Lex. ;  Schil- 
ling. 

BIFFI,  ANTONIO,  flourished  in  Venice, 
died  there  in  March,  1736.  Dramatic  com- 
poser, pupil  of  Legrenzi ;  became  maestro 
di  cappella  at  San  Marco  in  1701,  and  was 
also  professor  at  the  Conservatorio  de' 
Mendicanti.  Works  :  II  Figliuolo  prodigo, 
given  in  Venice,   1704 ;  7  psalms  for   two 


184 


BIFFI 


and  three  voices  (iu  the  Eoyal  Library, 
Berlin).  A  large  number  of  Ins  composi- 
tions is  to  be  found  in  the  Santini  col- 
lection, Rome. — Fi'tis;  Nemeitzen,  Nachlese 
besonderer  Naclirichten  von  Italien  (Leipsie, 
172(i),  '49. 

BIFFI,  GIUSEPPE,  born  at  Cesano, 
Lombardy,  about  the  middle  of  the  Ifith 
century.  Vocal  composer,  maestro  di  cap- 
pella  to  Cardinal  Andrea  Battori,  after- 
wards court  composer  to  the  Duke  of  Wiir- 
teinberg.  "Works:  Libro  di  madrigali  a 
quattro  voci  (Brescia,  1582) ;  do.  a  cinque 
voci  (Venice,  159!)) ;  do.  (Milan) ;  do.  a  sei 
voci  (Nuremberg,  IGOO) ;  Cantiones  sex  vo- 
cum  (Nurendjerg,  1596). — Fetis  ;  Mendel. 

BIGAGLIA,  Padre  DIOGENIO,  lived  in 
Venice  about  the  beginning  of  the  18th 
century.  Dramatic  composer  ;  Benedictine 
monk  of  the  convent  of  S.  Giorgio  Maggiore. 
Works  :  Giaele,  opera,  given  in  Venice,  1731 ; 
Dodici  sonate  a  violino  solo  ossia  flauto  (Am- 
sterdam, 1725)  ;  Siam  soli,  Erminie,  cantata ; 
In  Serena  coeli  scena,  motet  for  alto  solo, 
two  violins,  viola,  violoncello,  and  organ. 
Mail}'  of  his  MS.  works  are  j^reserved  in  the 
convent  of  his  order. — Gerber,  N.  Lex. ;  Men- 
del ;  Nemeitzen,  Nachrichten  von  Italien,  53. 

BIGATTI,  CARLO,  born  in  Milan,  Feb. 
12,  1779,  died  there  in  November,  1854. 
Dramatic  composer,  pupil  of  Vincenzo  C'a- 
nobbio  on  the  pianoforte,  then  at  Bologna 
of  Padre  Mattel,  and  at  Loreto  of  Zingarelli. 
In  1801  he  went  to  France,  spent  several 
years  at  Marseilles,  and  returned  in  1809  to 
MUan,  where  he  afterwards  became  maes- 
tro di  cappella  at  Santa  JIaria  Jlaggiore. 
Works  :  II  Fanatico,  opera  bufl'a,  given  at 
Marseilles,  1804  ;  Theodore  et  Jenny, 
French  opera,  ib.,  1808 ;  L'  Amante  prigio- 
niero,  Milan,  Scala,  1809  ;  L'  Albergo  nia- 
gico,  ib.,  Teatro  di  Sta.  Radegonda,  1811  ; 
La  Scoperta  inaspettata  ;  Astuzie  contra  as- 
tuzie  ;  I  Furbi  al  cimento,  Venice,  1819  ; 
Symphouie  concertante  for  two  horns,  with 
orchestra  ;  O  sacrum  convivium,  for  three 
voices  ;  Theme  and  variations  for  pianoforte. 
— Fetis  ;  Mendel. 


BIJOU  PERDU,  LE  (The  Lost  Jewel), 
opera-comique  in  three  acts,  text  by  de 
Leuven  and  de  Forges,  music  by  Adolj)he 
Adam,  rej^resented  at  the  Theatre  Lyrique, 
Paris,  Oct.  G,  1853.  Subject,  the  history 
of  a  watch  which  passes  from  hand  to  hand, 
from  the  boudoir  of  Mme  Coquilliere,  to 
the  Marquis  d'Angennes  and  others,  until  it 
comes  into  the  possession  of  Toinette,  the 
gardener's  daughter,  who  restores  it  to  the 
marquis  on  condition  that  he  relieves  her 
lover  from  militar}'  duty. 

BILDER  AUS  OSTEN  (Pictures  from 
the  East),  6  inqiromptus  for  pianoforte  for 
four  hands,  by  Robert  Schumann,  op.  66, 
composed  in  1848.  Dedicated  to  Frau  Lida 
Bendemann  (born  Schadow).  Orchestral 
transcription  by  Reinecke.  First  published, 
Fr.  Kistner  (Leipsie,  1849) ;  edition  of  Breit- 
kopf  &  Hiirtel,  Schumann's  Werke,  Series 
VI.,  No.  2. 

BILETTA,  EMANUELE,  Italian  com- 
poser, contemporarj-.  He  is  the  author  of 
La  rose  de  Florence,  opera  in  two  acts, 
text  by  Saint-Georges,  represented  at  the 
Opera,  Paris,  Nov.  10,  1856. 

BILHON  (Billon),  JEAN  DE,  French 
composer  of  the  end  of  the  15th  and  begin- 
ning of  the  16th  century.  He  resided  in 
Rome,  where  he  was  a  singer  in  the  Pon- 
tifical Chapel.  In  its  archives  are  masses 
by  him,  composed  on  themes  of  old  French 
chansons.  Other  works  may  be  found  in 
different  collections.- — Fetis. 

BILLERT,  KARL  FRIEDRICH  AU- 
GUST, born  at  Alt-Stettin,  Pomerania, 
Sept.  14,  1821,  died  in  Berlin,  Dec.  22, 
1875.  Di'amatic  comjDOser,  pupil  of  the 
musical  director  Montu  on  the  pianoforte, 
and  of  Karl  Loewe,  then  studied  in  Berlin 
at  the  Organ  Institute  and  iu  the  composi- 
tion class  of  the  Royal  Academy,  w'here  be 
took  the  first  prize  in  1847.  He  greatly 
influenced  musical  life  in  Berlin,  founded 
a  singing  society,  and  after  1857  devoted 
himself  to  researches  and  writing,  especially 
in  the  field  of  musical  archaeology  and  the 
science  of  instruments.     Grand  gold  medal 


165 


BILLET 


for  science  aucl  art.  Works :  Y^isilauti, 
opera  (IbiTj ;  Der  Liebesring,  do.  ;  Christi 
Geburt,  oratorio  ;  Symphony  in  D  major  ; 
Te  Deum,  for  cborus,  orchestra,  and  mili- 
tary baud  (for  the  coronation  of  King 
WiUiam  L);  Cantata  for  the  silver  wed- 
ding of  King  William  (Berlin,  Schlesinger) ; 
Psalms ;  Overtures  ;  Sacred  and  secular 
songs. — Mendel. 

BILLET,  ALEXANDRE  PHILIPPE, 
born  of  Fi-ench  parents,  at  St.  Petersburg, 
March  U,  1S17,  still  living,  1888.  Pianist, 
pujoil  of  Ziranierniann  at  the  Conservatoire, 
Paris,  which  he  entered  in  1833.  In  183.5 
he  won  the  second  prize,  and  with  his 
brother,  who  had  studied  the  violoncello  at 
the  same  time,  went  to  Geneva,  where  both 
taught  and  appeai-ed  succe.ssfully  in  public 
for  several  years.  In  1841  he  visited  Italy, 
Germany,  and  Russia,  lived  for  several  years 
in  London,  then  settled  in  Paris.  His  com- 
2)ositions,  consisting  of  fantaisies,  nocturnes, 
caprices,  etudes,  etc.,  for  pianoforte,  were 
published  in  the  several  countries  he  had 
visited. — Fetis  ;  Mendel. 

BILLET  DE  LOTERIE,  LE  (The  Lot- 
tery Ticket),  opera-comique  in  one  act,  text 
by  Roger  and  Creuze  de  Lesser,  music  by 
Isouard,  rejiresented  at  the  Opera  Comique, 
Paris,  Sept.  14,  1811.  It  had  a  prolonged 
success  in  Paris  and  in  the  provincial  cities. 

BILLET  DE  MARGUERITE,  LE,  opera- 
comitjue  in  three  acts,  text  by  de  Leuven 
and  Brunswick,  music  by  Gevacrt,  repre- 
sented at  the  Theatre  Lyrique,  Paris,  Oct. 
7,  1854. 

BILLETER,  AGATHON,  born  at  Miln- 
nedorf,  Ziirich,  Nov.  21,  1834,  died  at  Burg- 
dorf,  Feb.  8,  1881.  Vocal  com2)oser,  pupil 
of  the  Leipsic  Conservatorium ;  organist 
and  musical  director  at  Burgdorf,  Switzer- 
land. He  has  composed  very  puisular  cho- 
ruses for  male  voices. — Riemann. 

BILLINGS,  WILLIA:M,  born  in  Boston, 
Massachusetts,  Oct.  7,  1746,  died  in  Boston, 
Sept.  26,  1800.  He  has  been  considered 
the  founder  of  American  church  music,  as 
before  his  time  the  Colonies  had  only  the 


ft  w  tunes  that  had  been  brought  from  Eng- 
land. Being  entirely  self-taught,  his  theo- 
retical knowledge  of  music  was  very  limited, 
but  his  pieces  give  evidence  of  some  talent, 
and  at  one  time  his  music  became  so  pop- 
ular that  it  was  used  in  the  churches  almost 
exclusively.  He  published  six  collections 
of  music  :  The  New  England  Psalm  Singer 
(1770)  ;  The  Singing  Masters  Assistant 
(1778) ;  Music  in  Miniature  (1779)  ;  The 
Psalm  Singer's  Amusement  (1781)  ;  The 
Suffolk  Harmony  (1786)  ;  The  Continental 
Harmony  (1794).  In  these  collections  the 
tunes  were,  with  few  exceptions,  his  own. 
The  Lord  is  risei^  indeed,  anthem. 

BILLINGTON,  THOMAS,  born  (?),  died 
af  Naples  in  May,  1797.  Harpist  and  jji- 
anist ;  music  teacher  and  member  of  the 
orchestra  at  Drury  Lane  Theatre  in  Lon- 
don until  1786,  when  he  elojsed  with  the 
afterwards  famous  singer  Elizabeth  Billing- 
ton  to  Dublin,  and  subsequently  accom- 
jjanied  her  on  her  travels.  According  to 
Grove's  dictionary  he  was  not  the  husband, 
but  23i"obably  the  brother-in-law  of  Eliza- 
beth. Works  :  12  canzonette  for  two  voices 
(London,  Preston,  1795-97)  ;  6  songs  (ib.)  ; 
6  sonatas  for  pianoforte  (ib.)  ;  Sonata  for  4 
hands  (Amsterdam,  Schmidt)  ;  Sonata  for 
harjisichord  with  violin  (Paris,  1796)  ;  Ma- 
ria's Evening  Service  ;  Gray's  "  Elegy  ;  " 
Pope's  "Elegy  to  the  Memory  of  an  Un- 
fortunate Lady  ; "  Pope's  "  Eloisa  to  Abe- 
lard  ;  "  24  ballads  to  Shenstone's  Pastorals  ; 
Prior's  Garland  ;  Petrarch's  Laura  ;  Laura's 
Wedding-day  ;  Children  in  the  Wood  ; 
Young's  "Night  Thoughts;"  Glees  (all  in 
London,  Clementi). — Fetis  ;  Gerber,  N.  Lex. ; 
Schilling. 

BILSE,  BENJAMIN,  born  at  Liegnitz, 
Silesia,  Aug.  17,  1816,  still  living,  1888. 
Orchestra  conductor,  first  in  his  native  city, 
whence  for  many  years  he  made  regular 
concert  tours,  meeting  everywhere  with  brill- 
iant success.  After  his  great  triumph  dur- 
ing the  exhibition  in  Paris,  1867,  he  settled 
in  Berlin.  He  has  composed  a  great  num- 
ber of  dances  and  marches. — Mendel. 


186 


BINCHOIS 


BINCHOIS,  KGIDE  (or  Gilles),  born  at 
Biucli,  uear  Moiis,  Haiuault,  about  1-tOO, 
died  iu  Mous,  1452-14G5.  He  was  a  soldier 
iu  Lis  youtli  ;  iu  1438  Pljilipp  the  Good 
grauted  him  a  prebend  iu  the  Cliurch  of  S. 
Waudru  at  Mous,  and  iu  1452  lie  is  men- 
tioned as  second  chaplain.  Together  with 
Dufay,  Binohois  was  one  of  the  most  famous 
composers  of  the  first  Flemish  school  ;  his 
reputation  reached  as  far  as  Italy,  although 
he  seems  never  to  have  visited  that  country. 
Very  few  of  his  compositions  have  been  pre- 
served. There  is  a  three-voice  mass  in  the 
Brussels  Library,  aud  some  three -voice 
French  chansons  iu  the  libraries  of  the  Vat- 
ican, Rome,  and  of  Paris.  Kiesewetter's  de- 
ciphering of  the  song  '-Ce  mois  de  Mai," 
dedicated  to  Dufay  (iu  Gallerie  der  alteu 
Contrapunktisteu),  is  jjrobably  wrong. — Am- 
bros,  ii.  458. 

BINDER,  KARL,  born  iu  Vienna,  Nov. 
29,  181G,  died  there,  Nov.  5,  1860.  Dra- 
matic composer,  Kapellmeister  at  the  Josef- 
stildter  Theater  of  bis  native  city,  1839-47, 
then  in  Hamburg,  at  Presburg,  Hungary, 
and  finally  again  in  Vienna,  where  he  also 
taught  vocal  music.  Works  :  Der  Wiener 
Schusterhut,    melodrama,    Vienna,    about 

1840  ;  Die  drei  Wittfrauen,  opera,  ib.,  about 

1841  ;  Purzel,  vaudeville,  ib.,  about  1843  ; 
Overture  and  choruses  to  the  drama  Elmar  ; 
Psalms,  with  grand  orchestra  ;  Songs,  with 
pianoforte. — Fetis  ;  Mendel. 

BING,  JACOB,  born  blind  at  Eschenbach, 
Wiirtemberg,  July  IG,  1821,  died  at  Freiburg, 
Breisgau,  April  17,  1841.  Organist,  pianist, 
and  violinist,  educated  at  the  Institute  for  the 
Blind  at  Freiburg.  Works  :  Overture  for 
graud  orchestra ;  Mass  (1836) ;  String  quar- 
tets and  trios ;  Sacred  songs  for  4  voices  ; 
Songs,  with  jjianoforte. — Fetis  ;  Mendel. 

BIN  ICH  GLEICH  VON  DIR  GE- 
WICHEN,  choral,  to  the  melody :  "  Werde 
raunter,  mein  Gemiithe,"  iu  A  major,  iu 
Johann  Sebastian  Bach's  Passion  nach  Mat- 
thiius.  Part  II. 

BION,  opera-comique  iu  one  act,  iu  verse, 
text   by    Hoii'man,    music   by   Mchul,   first 


represented  at  the  Opera  Comique,  Paris,  iu 
1801.  Agenor,  a  young  Athenian,  perceiv- 
ing that  Bion  is  in  love  with  Nyaa,  endeav- 
ours to  throw  obstacles  iu  his  way.  Bion 
mystifies  Agenor  and  finally  wins  Nysa. 

BIONDINA,  twelve  melodies  to  Italian 
words  by  Zaffira,  music  by  Gounod,  iu  the 
stj'le  of  the  Tuscan  storncllo. 

BIONI,  ANTONIO,  born  iu  Venice  iu 
1G98,  died  after  1738.  Dramatic  composer, 
pupil  in  harmony  and  counterpoint  of  Gio- 
vanni Porta.  He  went  to  Ferrara  in  1722, 
and,  as  musical  director  of  an  Italian  opera 
troupe,  to  Breslau  in  1726.  In  the  next 
nine  years  he  wrote  twenty-one  operas,  and 
assumed  the  managemeut  of  the  Italian 
theatre  at  Breslau  in  1730.  After  the  dis- 
banding of  the  troupe  in  1733  he  is  lost 
sight  of,  but  seems  to  have  been  iu  Vienna 
in  1738,  and  afterwards  probably  returned 
to  Italy.  The  Elector  of  Mainz  conferred 
on  him  the  title  of  court  composer  in  1731. 
Works  :  Climene,  given  at  Naples,  1721  ; 
Udine,  Venice,  1722  ;  Cajo  Mario,  Mitridate, 
Ferrara,  1722  ;  Orlando  furioso,  Baden, 
1724  ;  Ai'mida  abbandouata,  Armida  al 
campo,  Breslau,  172G  ;  Endimione — pasto- 
rale, Lucio  Vero,  Ai'iodante,  Attale  ed  Arsi- 
noe,  ib.,  1727  ;  Artabauo,  Filindo — pastorale 
eroica,  Nissa  ed  Elpino,  ib.,  1728  ;  La  Fede 
tradita  e  vendicata,  Engelberta,  Audromac- 
ca,  ib.,  1729  ;  Ercole  sul  Termodonte,  ib., 
1730  ;  Lucio  Papirio,  Siroe,  re  di  Persia, 
Silvia,  ib.,  1731  ;  La  Verita  sconosciuta,  ib., 
1732  ;  Alessandro  Severo,  1'  Odio  jjlficato, 
Alessandro  nell'  Indie,  ib.,  1733  ;  Girita, 
Vienna,  1738. — Fetis;  Gerber,  N.  Lex.; 
Schilling. 

BIORDI,  GIOVANNI,  born  in  Rome  iu 
the  latter  half  of  the  17th  century.  Cantor 
of  the  Pontifical  Chapel  iu  1717,  aud  in  1722 
maestro  di  cappella  of  S.  Giacomo,  Rome. 
Nearly  all  the  churches  of  Rome  own  works 
by  this  master,  and  his  music  is  still  sung 
at  the  Pontifical  Chapel.  The  Abbate  San- 
tini's  collection  contains  :  Motetti  e  salmi,  4 
voci ;  Miserere,  for  two  choirs  ;  Lauda  Sion, 
for  two  choirs ;   Litanies  for  four  voices  ; 


BIKCKEiS' STOCK 


Lietatus  sum,  for  six  voices,  composed  for 
the  Pontifical  Chapel ;  Christus  factus  est, 
for  6  voices,  with  chorus  di  ripieno. 
— Fetis  ;  Meudel  ;  Schilling. 

BmCKENSTOCK,  JOHANN  ADAM, 
born  at  Alsfeld,  Hesse,  Feb.  19,  1687,  died 
at  Eisenach,  Feb.  26,  1733.  Instrumental 
composer,  pupil  at  Cassel  of  Euggiero  Fe- 
deli,  then  in  Berlin  of  Volumier,  at  Bay- 
reuth  of  Fiorelli,  and  finally  in  Paris  (1709- 
10)  of  de  Val.  After  his  return  to  Cassel 
he  was  made  court  musician,  in  1721  first 
violinist,  and  1725  Kapellmeister,  in  which 
capacity  he  accepted  a  call  to  Eisenach  in 
1730.  Works  :  12  sonatas  for  violin  with 
basso  continue  (Amsterdam,  1722)  ;  12  do. 
(ib.,  1730)  ;  12  concertos  for  4  violins  obli- 
gati,  viola,  violoncello,  and  bas.so  continue 
(ib.,  1730).— Fetis  ;  Gerber,  N.  Lex.  ;  Men- 
del ;  Schilling. 

BIRD,  AETHUE,  born  of  American  par- 
entage, in  Watertown,  Massachusetts,  July 
23,  1856,  still  living,  1888.  In  1872-7G  he 
studied  in  Germany,  and  in  1881  he  again 
went  to  Europe,  where  lie  was  at  different 
times  a  pupil  of  Liszt,  Hauptmann,  Loesch- 
horn,  Arbach,  and  Eode.  His  compositions 
consist  of  a  symphony  for  orchestra ;  2 
pieces  for  pianoforte  and  violin  ;  3  marches 
for  pianoforte  ;  3  waltzes  for  pianoforte  ; 
and  other  pianoforte  jjieces. 

BIED.     See  Bijrd. 

BIEKLEE,  GEOEG  WILHELM,  born 
at  Bochau,  Wiirtemberg,  May  23,  1820,  still 
living,  1888.  Church  comi^oser,  pupil  of 
his  father  on  the  pianoforte  and  organ,  and 
in  singing,  then  at  the  Wilhelmstift  at  Tii- 
bingen,  where  he  studied  theology,  influ- 
enced especially  bj'  Professor  Aberle.  He 
became  a  learned  writer  on  classical  music, 
and  is  now  professor  at  the  Gymnasium  of 
Ehningen.  He  has  composed  masses,  ves- 
per psalms,  etc.,  for  mixed  and  male  chorus. 
— Mendel. 

BntNBACH,  (JOSEF  BENJAMIN) 
HEINEICH,  born  at  Breslau,  Jan.  8,  1795, 
died  in  Berlin,  Aug.  24,  1879.  Pianist,  son 
and  pupil  of  Karl  Josef  Birnbach,  and  stu- 


dent of  Friedrich  M.  Kilhler  in  thorough 
bass.  He  made  a  concert  tour  to  Warsaw 
when  a  boy  of  eight  years,  became  Kapell- 
meister at  the  theatre  and  of  a  church  in 
Pesth  about  1813,  but  returned  in  1814  to 
Breslau,  where  he  taught  until  1821,  when 
he  settled  in  Berlin.  In  1833  he  founded 
there  a  musical  institute,  and  formed  a 
number  of  pupils  of  such  note  as  Nicolai, 
Dehn,  Kiicken,  etc.  During  the  latter  part 
of  his  activity  be  had  become  entirely  blind. 
Works  :  Two  symphonies  for  orchestra ; 
Two  overtures  for  do.;  Concertos  for  piano- 
forte, for  clarinet,  oljoe,  guitar  ;  Sonatas  for 
jjianoforte  ;  Duos  ;  Quintet,  etc. — Fetis  ; 
Mendel  ;  Schilling. 

BIENBACH,  HEINEICH  AUGUST,  born 
at  Breslau,  1782,  died  in  Berlin,  Dec.  31, 
1840.  Violoncellist,  son  of  Karl  Josef  Birn- 
bach and  pupil  of  Anton  Kraft  in  Vienna, 
where  he  had  obtained  an  engagement  in 
the  orchestra  of  the  Theater  an  der  Wien. 
In  1804-G  he  was  chamber  musician  to 
Prince  Lubomirski  at  Landshut,  Galicia  ;  in 
1807  be  entered  the  opera  orchestra  in 
Vienna  as  guitar  player,  and  returned  to 
Landshut  in  1822,  having  in  the  meanwhile 
played  the  violoncello  in  the  theatre  orches- 
tra at  Pesth,  after  1812.  On  the  erection 
of  the  Kunigstiidter  Theater  in  Berlin,  1824, 
he  accepted  an  engagement  there,  became 
chamber  musician  in  the  royal  orchestra 
in  1825,  and  was  pensioned  in  1831.  He 
composed  concertos  and  variations  for  vio- 
loncello, and  many  pieces  for  the  guitar. 
— Fetis ;  Mendel ;  Schilling. 

BIENBACH,  KAEL  JOSEF,  born  at  K6- 
pernick,  near  Neisse,  Silesia,  1751,  died  at 
W^arsaw,  May  29,  1805.  Violinist  and 
dramatic  composer,  pupil  of  Dittersdorf, 
who  pi-ocured  him  a  position  in  Breslau, 
whence  he  went  to  Berlin  in  1795,  and  be- 
came chamber  musician  in  the  royal  orches- 
tra. In  1803  he  went  to  Warsaw  with  his 
son  Heinrich,  and  accepted  an  engagement 
as  Kapellmeister  of  the  German  theatre 
there  in  1804,  but  fell  victim  to  an  epidemic. 
Works  :    Saphire,  opera,   given   at  Breslau 


18S 


BIRTH 


about  1783  ;  Die  Fiscliweiber  vou  Paris, 
do.,  ib. ;  Oratorios  and  cantatas  ;  Masses  ; 
10  symphonies  for  orchestra  ;  IG  concertos 
for  pianoforte  ;  10  do.  for  viohu  ;  20  quar- 
tets for  strings ;  several  quintets  for  do. ;  25 
sonatas  for  pianoforte  ;  15  soli  for  violin, 
etc. — Fetis  ;  Mendel  ;  Schilling. 

BIRTH  AND  FORTUNE  I  DESPISE, 
tenor  air  in  A  major  of  Jonathan,  in  Han- 
del's Saul,  Part  I. 

BISCHOFF,  KARL  BERNHARD,  born 
at  Nieder-Rublingen,  Weimar,  Dec.  24, 
1807,  still  living,  1888.  Composer,  j)ui3il 
in  Berlin  of  A.  W.  Bach,  Rungenhagen,  and 
Grell.  He  accejjted  a  call  to  Stargard, 
Pomerania,  in  1843,  and  afterwards  re- 
ceived the  title  of  roj'al  director  of  music. 
Works :  Der  Christ,  oratorio  ;  Joas,  do.  ; 
Quartets,  and  other  chamber  music  ;  Blotets, 
etc. — Mendel. 

BISCHOFF,  KASPAE  JOSEPH,  born  at 
Ansbach,  April  7,  1823,  still  living,  1888. 
Composer,  pupil  of  Ett  and  Stuutz  in 
Munich,  then  studied  in  Leipsic,  1847-49, 
and  settled  at  Frankfort.  W'orks  :  Maske 
und  Mantille,  oj)era,  given  at  Frankfort, 
1852;  Symphony;  Overture  to  Hamlet; 
Cantatas  ;  Psalms ;  Quartets  for  strings  ; 
Songs  and  part-songs. — ^lendel. 

BISHOP,  Sir  HENRY  ROWLEY,  born 
in  London,  Nov. 
18,  178G,  died 
there,  April  30, 
1855.  Dramatic 
comj)oser,  i)upil 
of  Francesco  Bi- 
anchi.  He  began 
to  compose  at  an 
early  age,  but 
was  first  brought 
into  notice  by 
his  opera  of  The 

Circassian  Bride,  produced  at  Drury  Lane 
Theatre  in  1809.  Unfortunately  the  theatre 
was  burned  the  night  after  (Feb.  24th)  and 
the  score  was  lost,  but  its  reception  procur- 
ed him  in  1810  the  position  of  musical  di- 
rector at  Covent  Garden  Theatre.     In  1S18 


he  was  one  of  the  founders  of  the  Philhar- 
monic Society,  of  which  he  took  his  turn  as 
conductor,  and  in  lcS20  he  visited  Dublin 
and  received  the  freedom  of  the  city.  He 
was  conductor  at  Drur^'  Lane  Theatre  in 
1825,  musical  director  at  Vauxhall  Gardens 
in  1830,  musical  director  at  Covent  Garden 
Theatre  in  1840-41.  conductor  of  the  An- 
tient  Concerts  in  1840-48,  professor  of  mu- 
sic in  Edinburgh  University  in  1841-43,  and 
professor  of  music  in  Oxford  University  in 
1848.  He  received  the  degree  of  Bachelor 
of  Music  at  Oxford  in  1839,  and  of  Doctor 
of  Music  in  1853,  and  was  knighted  in  1842. 
Bishop  jjroduced  more  than  a  hundred  op- 
eras, operettas,  burlettas,  ballets,  and  other 
dramatic  pieces,  of  which  at  least  two-thirds 
were  entirely  by  him,  and  the  rest  adajita- 
tious  or  works  written  in  collaboration  with 
Davy,  Reeve,  Whittaker,  and  others.  He 
was  esjjecially  strong  in  vocal  music  and 
one  of  the  best  of  the  English  lyrical  com- 
posers. Works — Operas  and  musical  dra- 
mas :  Angelina,  farce,  London,  1804  ;  Ta- 
nierlau  et  Bajazet,  ballet,  ib.,  180G  ;  Narcisse 
et  les  Graces,  ballet,  ib.,  ISOG ;  Caractacus, 
ballet,  ib.,  180G  ;  Love  in  a  Tub,  ballet,  ib., 
180G  ;  The  Mysterious  Bride,  ib.,  1808  ;  The 
Circassian  Bride,  The  Vintagers,  1809  ;  Mo- 
ra"s  Love,  ballet,  1809 ;  Tlio  Maniac,  or 
Swiss  Banditti,  1810;  The  Knight  of  Suow- 
don,  1811  ;  The  Virgin  of  the  Sun,  The 
^thiop,  or  Child  of  the  Desert,  The  Kene- 
gade,  1812  ;  Haroun  Alraschid  (altered  from 
the  iEthiop),  The  Brazen  Bust,  Harry  Le 
Roy,  The  Miller  and  his  Men,  For  England, 
Ho  !,  1813  ;  Tlie  Farmer's  Wife  (with  Keeve 
and  Davy),  The  Wandering  Boys,  or  The 
Castle  of  Clival,  Sadak  and  Kalasrade,  or 
The  Waters  of  Oblivion,  Tlie  Grand  Alliance, 
The  Forest  of  Bondj',  or  Dog  of  Montargis, 
Dr.  Sangi-ado,  ballet,  The  Maid  of  the  Mill, 
comic  opera,  Brother  and  Sister  (with  Reeve), 
John    of    Paris    (adajjted    from    Boieldieu), 

1814  ;  The  Noble  Outlaw,  Telemachus,  Co- 
mus,  jNIagpie  or  the  Maid,  John  du  Bart, 

1815  ;  A  Midsummer  Night's  Dream,  Royal 
Nuptials,   intermezzo,   Guy    ]\Iannering,   or 


BIST 


the  Gypsy's  Prophecy  (with  Whittaker),  The 
Slave,  opera,  Who  Wants  a  Wife?,  melo- 
drama, 181G  ;  The  Heir  of  Verona,  or  Hon- 
esty the  best  Policy  (with  Whittaker),  The 
Humorous  Lieutenant,  Tlie  Father  and  his 
Children,  melodrama,  The  Duke  of  Savoy,  or 
Wife  and  Mistress,  The  Libertine  (adapted 
from  Don  Giovanni),  1817  ;  Zuma,  or  The 
Tree  of  Health,  comic  opera  (with  Braham), 
The  Illustrious  Traveller,  December  and 
May,  Barber  of  Seville  (adapted  from  Ros- 
sini), 1818;  The  Heart  of  Midlothian,  A 
Roland  for  an  Oliver,  The  Gnome  King,  or 
The  Giant  Mountains,  Swedish  Patriotism, 
The  Comedy  of  Errors,  Fortunatus  and  his 
Sons,  melodrama.  Marriage  of  Figaro 
(adapted  from  Mozart),  1819;  The  Anti- 
quary, The  Battle  of  Bothwell  Brigg,  Henri 
Quatre,  or  Paris  in  the  Olden  Time,  Tvt'elfth 
Night,  Don  John,  or  The  Two  Violettas, 
Montrose,  or  The  Children  of  the  Mist, 
1820  ;  The  Two  Gentlemen  of  Verona,  1821 ; 
The  Law  of  Java,  Maid  Marian,  or  The 
Huntress  of  Arlingford,  opera,  1822  ;  Clari, 
or  The  Maid  of  Milan,  opera.  The  Beacon  of 
Liberty,  Cortez,  or  The  Conquest  of  Mexico, 
1823  ;  Native  Land,  or  Return  from  Sla- 
very, Charles  the  Second,  oj^eretta.  As  you 
like  it,  1824;  The  Fall  of  Algiers,  opera, 
Edward  the  Black  Prince,  Coronation  of 
Charles  X.,  Aladdin,  or  the  Wonderful 
Lamp,  opera,  Faustus,  1825  ;  The  Knights 
of  the  Cross,  opera,  1826 ;  Englishman  in 
India,  1827  ;  The  Night  before  the  Wed 
ding,  1829  ;  Ninetta,  opera,  Hofer  (adapted 
from  Rossini),  1830 ;  Under  the  Oak,  opera, 

1831  ;  Adelaide,  or  The  Royal  William,  op- 
era. The  Tyrolese  Peasant,  Home,  Sweet 
Home,  operatic  drama.  The  Magic  Fan,  or 
The  Fillip  on  the  Nose,  operetta,  The  Sedan 
Chair,  The  Bottle  of  Champagne,  operetta. 
The  Romance  of  a   Day,   ojaeratic  drama, 

1832  ;  Yelva,  or  The  Orphan  of  Russia,  The 
Rencontre,  operatic  comedy,  1833  ;  Rural 
Felicity,  1834  ;  The  Doom  Kiss,  opera,  Man- 
fred, 1836  ;  The  Fortunate  Isles,  1841 ;  The 
Czar  of  Muscovy,  opera.  The  Fallen  Angel, 
oratorio  ;  The  Seventh  Day,  cantata,  1833  ; 


Ode  for  the  Installation  of  the  Earl  of  Derby 
as  Chancellor  of  Oxford,  1853.  Glees  and 
songs. — Brown  ;  Grove  ;  Fetis. 

BIST  DU  MEIN?  HAB'  ICH  DICH 
WIEDER  ?     See  Tm/a/t  und  Isolde. 

BITTONI,  BERNARDO,  born  at  Fabri- 
ano.  Pontifical  States,  in  1755,  died  there, 
May  18,  1829.  Organist,  j)upil  of  one  Lom- 
bardi  ;  lived  for  manj'  yeavs  as  maestro  di 
musica  at  Rieti,  then  in  the  same  capacity  in 
his  native  place.  Alfieri  wrote  his  biogra- 
jihy.  Works  :  Mass  for  8  voices  and  or- 
chestra ;  Requiem  Mass  for  4  voices  and 
several  instruments  ;  Lauda  Jerusalem, 
psalm  for  do..  Salve  Regina,  fordo.;  Beatus 
vir,  for  do.  ;  Christus  factus  est,  for  do.; 
Credo  for  do. ;  Magnificat ;  Miserere  ;  Many 
motets,  and  olt'ertories,  etc. ;  Sonatas  for  the 
organ. — Fetis. 

BIUMI,  GIACOMO  FILIPPO,  born  in 
Milan,  died  there  in  1652.  Organist,  first 
at  the  Church  della  Passione,  then  at  San 
Ambrogio,  and  finally  at  the  cathedral. 
Works :  A  book  of  Magnificats  for  4-8 
voices  ;  do.  of  fantasias  for  4  voices  ;  do.  of 
motets  for  2-4  voices  ;  Caiizoni  da  suonar 
alia  francese  a  4  ed  8  voci ;  and  others, 
scattered  in  collections. — Fetis  ;  Mendel. 

BIZET,  (CHARLES  CESAR  LfiOPOLD) 
called  GEORGES,  born  in  Paris,  Oct.  25, 
,^     -  1838,  died  there,  June 

3,  1875.  He  entered 
in  1848  the  Conserva- 
toire, where  he  studied 
composition  under  Ha- 
levy,  and  won  the 
prix  de  Rome  in  1857. 
Before  graduating  he 
had  brought  out  an 
operetta,  Docteur  Mi- 
racle, at  the  Bouffes  Parisiens.  On  his  re- 
turn from  Italy  he  composed  and  produced 
several  operas-comiques,  which  had  but 
indifferent  success.  His  overture,  Patrie, 
and  especially  his  interludes  to  Daudet's 
L'Ark'sienne  (afterwards  published  as  two 
orchestral  suites)  were  far  better  received. 
The  corner-stone  of  his  fame,  however,  was 


BLACK 


the  opera  ('armcii,  wliioli  at  once  placed  Lira 
in  the  foremost  rank  of  modern  French 
composers.  This,  and  the  suites  L'Arle- 
sienne  and  Koma,  are  liis  best-knowu  works. 
He  was  a  man  of  superior  gifts,  and  of 
decidedly  greater  originality  than  other 
Fi'ench  composers  of  his  generation.  He 
was  an  aceomijlished  pianist,  especially 
noted  for  his  wonderful  sight-reading  of  or- 
chestral scores.     He  married  a  daughter  of 


/?. 


€c^^  ei      ^  /  ?  e^ 


s. 


Halevy.  Great  hopes  were  entertained  of 
his  future,  and  his  sudden  death  was  uni- 
versally lamented.  Works  —  OjDeras  :  Le 
Docleur  Miracle,  given  at  the  Bouifes  Pari- 
siens,  A25ril  9,  1857  ;  Don  Procopio  ;  La 
Guzla  de  I'Emir  ;  Les  ptcheurs  de  perles, 
Theatre  Lyrique,  Sept.  30, 18G3  ;  LaJoZ/efille 
de  Perth,"  ib.,  Dec.  2G,  18G7 ;  Numa,  1871; 
Djamileh,  Oi^era  Comique,  May  22,  1872  ; 
Carmen,  Opera  Comique,  June  3,  187.5  ; 
Yvan  le  Terrible  (never  performed).  Other 
works  :  Incidental  music  to  Daudet's  VArle- 
sienne  ;  Overture,  Pat  tie  ;  La  r//asse  d'Ossian, 
overture  ;  Two  movemenis  of  a  sj-mphony  ; 
Songs  and  pianoforte  music. — Leipsic  Sig- 
nale,  June,  1875,  No.  29  ;  April,  1883,  No. 
33  ;  Grove,  i.  246. 

BLACK  CROOK,  THE,  fairy  operatic 
spectacle  in  four  acts,  music  by  Jacobi  and 
Frederick  Clay,  first  represented  at  the 
Alhambra,  London,  December,  1872.  The 
first  and  third  acts  are  by  Jacobi,  the  others 
by  Clay. 

BLACK  DOMINO.     See  Domino  Noir. 

BLAHAG  (Blahak),  JOSEF,  born  at 
Raggendorf,  Hungary,  in  1779,  died  in  Vi- 
enna, Dec.  15,  1846.  Tenor  singer  at  the 
Leopoldstiidter  Theater,  Vienna,  in  1802- 
23,  Kapellmeister  at  St.  Peter's,  there,  in 
1824.  Works :  14  masses  ;  25  graduales  ; 
29  offertories  for  one  or  several  voices,  with 


[  string  instruments  and  organ  ;  10  Tantum 
ergo,  for  four  voices  and  organ  ;  2  Te  De- 
um. — Fotis  ;  Wurzbach. 

BLAHETKA,  LEOPOLDINE,  born  at 
Guutramsdorf,  near  Vienna,  Nov.  15,  1811, 
still  living,  1888,  at  Boulogne.  Pianist, 
pupil  of  Czeruy,  then  of  Kalkbreuner  and 
Moscheles  on  the  pianoforte,  and  of  Simon 
Sechter  in  comisosition.  She  excited  an 
interest  by  her  playing  when  only  seven 
years  of  age,  and  was  afterwards  very  suc- 
cesful  on  her  concert  tours.  In  1840  she 
settled  at  Boulogne,  and  devoted  herself  to 
teaching.  Works  :  Die  Rauber  und  die 
Sanger,  opera,  given  in  Vienna,  Kiirnthner- 
thor  Theater,  1830  ;  Concertos,  sonatas,  po- 
lonaises, variations,  etc.,  for  pianoforte  solo, 
and  with  orehesti'a,  or  quartet,  or  only  vio- 
lin ;  Trios  for  pianoforte,  violin,  and  vio- 
loncello ;  Songs,  with  pianoforte.  — Fetis  ; 
Wm-zbach. 

BLAISE,  ADOLPHE,  died  in  Paris  in 
1772.  Dramatic  composer,  bassoon-player 
in  the  orchestra  of  the  Comodie  Italienne 
in  1737.  He  wrote  many  divertissements, 
entr'actes,  dances,  and  marches  for  that 
stage,  besides  the  following  works  :  Annette 
et  Lubin,  given  at  the  Theatre  Italien,  1762  ; 
Isabelle  ct  Gertrude,  ou  Les  sylphes  sup- 
poses, ib.,  1765  ;  Le  trompeur  tromjii',  il)., 
1707  ;  Orjihee,  Filets  de  Vulcain,  ballets, 
given  in  1738 ;  Pedant,  Amours  de  Cupi- 
don.  Psyche,  and  other  ballets. — Fetis. 

BLAISE  ET  BABET,  opera-eomique  in 
two  acts,  text  by  Monvel,  music  by  Dezede, 
first  represented  at  Versailles,  April  4, 1783, 
and  at  the  Comedie  Italienne,  Paris,  June 
30,  1783.  It  is  a  sequel  to  Les  trois  fer- 
miers  by  the  same  author.  It  was  the  most 
successful  of  Dezede's  works. 

BLAISE  LE  SAVETIER  (Blaise  the  Cob- 
bler), opera-comique  in  one  act,  text  by  Se- 
daine,  music  by  Philidor,  first  represented 
at  the  Opera  Comique,  Paris,  March  9, 1759. 
This  opera,  Philidor's  first  dramatic  work, 
achieved  for  him  a  decided  and  permanent 
success.  In  it  he  showed  himself  to  be  a 
more   skilful   harmonist   than   the  French 


191 


BLAKE 


composers  of  his  day,  thovigh  his  phrasiug 
often  violates  dramatic  truth,  and  his  pros- 
ody is  defective.  It  was  one  of  the  works 
selected  in  1762  with  which  to  open  the 
new  Comcdie  Italieune,  and  it  continued  to 
be  a  favourite  for  half  a  century. — Allen, 
Life  of  Philidor,  45. 

BLAKE,  CHAl^LES  DUPEE,  born  of 
American  parentage,  in  Walpole,  Massachu- 
setts, Sept.  13,  1847,  still  living,  1888.  Or- 
ganist, pupil  of  J.  D.  C.  Parker,  David  Paine, 
T.  P.  Eyder,  J.  K.  Paine,  and  Handel  Pond. 
He  has  been  organist  and  musical  director 
in  the  Congregational  churches,  at  Wrent- 
ham  and  at  HoUiston,  Mass.;  in  the  Broom- 
field  St.  :\I.  E.  Church,  Boston  ;  and  the 
Union  Church,  Boston.  Works — Songs  : 
Both  sides.  The  Dead  Leaves  rustling,  Roses 
and  Violets,  The  Cavalier's  farewell,  The 
Longest  way  'round,  Wake  from  thy  dream- 
ing. When  Pansies  come  again.  Whisper  thy 
thoughts  to  me,  etc.  ;  All  Hope  has  fled, 
duet ;  Thine  Own,  duet ;  Angels  are  sing- 
ing, Christmas  carol ;  The  Way,  the  Truth, 
the  Light,  Christmas  carol,  etc. 

BLAMONT,  FKANCOIS  COLIN  DE, 
born  at  Versailles,  Nov.  22,  1G90,  died  in 
Paris,  Feb.  14,  1760.  Dramatic  com^joser. 
At  first  a  musician  in  the  household  of  the 
Duchess  of  Maine,  he  made  his  debut  as 
a  composer  in  1707  with  Circe,  a  cantata, 
which  won  him  the  notice  of  Lalande,  who 
gave  him  lessons  in  harmony  and  counter- 
point. He  afterwards  became  superintend- 
ent of  the  king's  music.  His  first  work  for 
the  stage  (1723)  established  his  reputation, 
and  won  him  the  order  of  St.  Michael. 
Works :  Les  fetes  grecques  et  romaines, 
heroic  ballet,  given  in  Paris,  Opera,  1723  ; 
Diane  et  Eudymion,  opera,  ib.,  1731  ;  Les 
fetes  de  Tlietis,  opera-ballet ;  Les  carac- 
t^res  de  I'amour,  heroic  ballet.  Concert  de 
la  Reine,  1736,  Academic  Eoyale  de  Mu- 
sique,  1738 ;  Les  amours  du  printemps 
(act  added  to  Caractiires  de  I'amour),  Ope- 
ra, 1739  ;  Jupiter  vainqueur  des  Titans, 
do.,  at  Court,  174.5  ;  Le  retour  des  dieux 
sur  la  terre  (1725)  ;  Cantates  f  ran5aises  in 


3  books  ;  Five  collections  of  Airs  serieux  et 
h  boire  ;  2  liooks  of  motets  ;  and  the  music 
of  the  following  court  ballets  :  Fetes  on 
divertissements,  1721 ;  Les  presents  des 
dieux,  1727  ;  Les  fetes  du  labyrinthe, 
1728  ;  La  nymphe  de  la  Seine  ;  Le  jardin 
des  Hesperides,  Zephire  et  Hore,  1739 ; 
L'heureux  retour  de  la  reine,  1744  ;  Les 
regrets  des  beaux  arts  ;  II  pastor  fido. — Fe- 
tis  ;  Larousse  ;  Mendel  ;  Schilling. 

BLANC,  ADOLPHE,  born  at  Manosque 
(Basses-Alpes),  June  24,  1828,  still  living, 
1888.  Violinist,  f)upil  at  the  Conserva- 
toire, Paris,  where  he  won  a  prize,  and  of 
Halevy  in  composition.  For  a  short  lime 
he  was  chef  d'orchestre  at  the  Theatre  Lj'- 
rique.  He  is  one  of  the  few  French  com- 
posers who  have  pre-eminently  cultivated 
chamber  music,  for  which  the  prix  Chartier 
was  assigned  to  him  by  the  Academy  in 
1862.  Works  :  Une  aventure  sous  la  Ligue, 
comic  opera ;  Les  deux  billets,  operetta, 
Paris,  Salle  Herz  and  Salle  Pleyel,  1868  ; 
Les  reves  de  Marguerite,  do. ;  La  prom- 
enade du  boeuf  gras,  symphonie  burlesque  ; 
Ouverture  espagnole,  for  orchestra;  Sonatas, 
trios,  quartets,  quintets,  sej)tets  for  strings, 
or  for  pianoforte  and  strings ;  Rondos,  so- 
natinas, caprices,  etc. — Fetis  ;  do..  Supple- 
ment, i.  96. 

BLANCHARD,  HENRI  LOUIS,  born  at 
Bordeaux,  Feb.  7,  1778,  died  in  Paris,  Dec. 
18, 1858.  Violinist  and  dramatic  composer, 
pupil  of  his  father  on  the  violin  and  of 
Franz  Beck  in  harmony,  then  in  Paris  of 
Rudolf  Kreutzer,  Reicha,  and  JNIehul.  He 
was  chef  d'orchestre  at  the  Theatre  des  Va- 
riutes  in  1818-29,  where  he  composed  a 
great  number  of  vaudeville  airs,  most  of 
which  became  popular.  After  the  revolu- 
tion of  1830  he  assumed  the  management 
of  the  Theatre  Molicre,  and  wrote  several 
dramas  which  had  great  success,  but  brought 
him  into  discredit  with  the  government.  In 
1833  he  devoted  himself  entirely  to  musical 
criticism  and  writing  on  music,  in  which 
field  he  became  very  distinguished.  Works  : 
Diane  de  Vernon,  comic  opera,  given  at  the 


m 


BLANCHE 


ThiVitre  des  Nouveautt's,  1831 ;  L'Arioste, 
do.  (not  performed) ;  Concertini  for  violiu  ; 
Airs  varies  for  do.;  Fautaisie  for  do.  and 
liarf) ;  Quartets  for  violins  ;  do.  for  violas  ; 
Duos  for  violins,  etc. — Fctis  ;  Mendel. 

BLANCHE  DE  NEVERS,  English  opera 
ill  three  acts,  text  by  John  Brougham,  mu- 
sic by  Balfe,  represented  at  Covent  Garden, 
London,  Nov.  21,  1803.  Subject  from  the 
French  drama,  "  Le  Bossu,"  called  in  Eng- 
lish the  '•  Duke's  Motto." 

BL.\NCHE  DE  PROVENCE,  or  La  Cour 
des  Fees  (The  Court  of  the  Fairies),  opei-a 
in  three  acts,  text  by  Theaulou  and  Ranee, 
music  by  Berton,  Cherubiui,  Kreutzer,  and 
Paer,  first  represented  at  the  Opera,  Paris, 
May  3,  1821.  All  that  remains  of  this  work, 
composed  on  the  occasion  of  the  birth  and 
baptism  of  the  Due  de  Bordeaux,  posthu- 
mous son  of  the  DucdeBorry,  is  the  splendid 
final  chorus  by  Cherubini  :  "Dors,  cher  en- 
fant, tendre  fleur  d'esperance." 

BLANGINI,  GIUSEPPE  MARCO  MA- 
RIA FELICE,  born  in  Turin,  Nov.  18, 1781, 
died  in  Paris,  Dec.  18,  18-41.  Dramatic 
composer  and  tenor  singer.  He  was  ad- 
mitted in  1789  to  the  choristers'  school  in 
Turin  Cathedral,  and  made  rapid  progress 
under  the  Abbate  Ottani  ;  when  twelve 
years  old  he  acted  as  organist  to  the  cathe- 
dral, and  had  composed  a  motet  and  a  Kyrie, 
and  at  fourteen  he  led  a  mass  with  full  or- 
chestra. His  favourite  instrument  was  the 
violoncello.  In  1799  he  went  to  Paris  and 
became  the  fashionable  composer  of  ro- 
mances and  nocturnes  and  teacher  of  sing- 
ing. In  1802  he  was  commissioned  to  com- 
plete Delia- Maria's  unfinished  oj)era.  La 
fausse  duegne,  which  was  followed  by 
others  of  his  own,  and  in  1805  he  was  called 
to  Munich,  where  several  of  his  operas  were 
produced.  In  180G  he  became  Kapellmeis- 
ter to  the  King  of  Bavaria,  and  Princess 
Borghese  appointed  him  director  of  her  mu- 
sic. King  Jerome  made  him  General  Mu- 
sik-Director  at  Cassel  in  1809.  In  1814  he 
returned  to  Paris  and  was  appointed  Surin- 
tendant  de  la  musique  du  Roi.     He  was  an 


indefatigable  comj)Osor  of  operas.  Works  : 
Zelie  et  Terville,  ou  Chimere  et  realite, 
given  in  Paris,  Theatre  Feydeau,  1803  ;  En- 
core un  tour  de  Calife,  Munich,  1805  ; 
Nephtali  ou  les  Ammonites,  Paris,  Acadc- 
mie  Imjieriale  de  Musique,  180G  ;  Inez  de 
Castro  ;  Les  fetes  lacedemonieunes  (1805)  ; 
Les  femmes  vengees,  Paris,  Theatre  Fey- 
deau, 1811  ;  Le  sacrifice  d'Abraham,  L'A- 
mour  philosophe,  Cassel,  1811  ;  Le  uau- 
frage  comique.  La  fee  Urgele,  La  Princesse 
Cachemire,  Cassel,  1812  ;  Trajano  in  Dacia, 
Munich,  1814  ;  La  sourde-muette,  Paris, 
Theatre  Feydeau,  1815  ;  La  Comtesse  de 
Lamark,  ib.,  1817  ;  Le  jeune  oncle,  ib., 
1820  ;  Marie  Therc'se,  1820  ;  Le  Due  d'Aqui- 
taine,  Paris,  Theatre  Feydeau,  1823  ;  Le 
projet  de  j^iece,  ib.,  1825  ;  La  Saint-Henri, 
Theatre  de  la  Coui%  1825  ;  L'Intendant,  ib., 
182()  ;  Le  morceau  d'ensemble.  Theatre  des 
Nouveautes,  1825  ;  Le  coureur  de  veuves, 
Le  jeu  de  cache-cache,  L'auueau  de  la  fi- 
ancee, ib.,  1827  ;  Le  chanteur  de  romances, 
Theatre  des  Varietes,  1830  ;  Part  of  the 
music  of  the  Duchesso  de  Brinvilliers,  1831 ; 
Uu  premier  pas,  1832  ;  Les  gondoliers, 
1832  ;  Le  vieux  de  la  montagne.  His  ro- 
mances (174  for  a  single  voice)  and  noc- 
turnes (170  for  two  voices)  are  among  his 
best  compositions  ;  several  of  the  former, 
like  II  est  trop  tard,  Les  souvenirs,  M'ai- 
meras-tu?,  II  faut  partir,  are  still  sung. 
He  wrote  also  some  church  music,  including 
four  masses  with  orchestra,  and  motets. 
— Villemarest,  Souvenirs  de  F.  Blangini, 
1797-1834  ;  Fetis  ;  do..  Supplement,  i.  97  ; 
Mendel  ;  Schilling. 

BL.ARAMBERG,  PAUL,  born  at  Oren- 
burg, Russia,  Sept.  26,  1841,  still  living, 
1888.  Dramatic  composer,  j)upil  of  Bala- 
kirev  at  St.  Petersburg,  where  he  studied 
law  ;  he  first  held  a  government  position, 
but  resigned  it,  in  1870,  to  become  editor 
of  the  Russian  Gazette,  at  Moscow.  He 
is  an  adherent  of  the  Berlioz-Liszt  school. 
Works:  Maria  Tudor,  opera,  given  at  St. 
Petersburg,  1882  ;  The  Fu-st  Russian  Co- 
median, do. ;  Music  to  Ostrovski's  Vaivode ; 


BLASIS 


The  Demon  (after  Lermontoff),  cantata. — 
Riemann. 
BLASIS,  FRANCESCO  ANTONIO  DE, 

born  at  Naples  in  1765,  died  at  Florence, 
Aug.  22,  1851.  Dramatic  composer,  pupil 
of  Fenaroli  at  the  Conservatorio  of  his  na- 
tive city.  He  was  organist  in  Venice,  re- 
turned to  Naples  in  1799,  and  thence  went 
to  France,  settling  at  Marseilles.  The  time 
of  his  return  to  Italy  is  not  known.  "Works 
• — Operas  and  ballets,  given  in  Italy  :  Ar- 
minio  ;  Didoue  ;  Adoue  e  Venere  ;  Zulima  ; 
Lo  sposo  in  periglio  ;  II  burbero  di  buon 
cuore  ;  La  donna  capricciosa ;  H  geloso 
ravveduto  ;  L'  isola  di  Bella  Marina ;  II 
fiuto  feudatorio,  etc.  The  following  were 
given  in  France  :  Omphale  ;  Almanzor,  ou 
L'epreuve  de  la  jeunesse ;  Le  eourroux  d'A- 
chille  ;  Debutade,  ou  L'oiigine  du  dessin  ; 
Les  trois  Sultanes ;  Le  triomphe  de  la  pais  ; 
Meprise  sur  mejsrise  ;  La  fete  du  village, 
etc.  Oratorios,  masses,  overtures,  and  quar- 
tets. Methods  for  the  violin,  the  pianoforte, 
and  a  vocal  method. — Fetis,  Sui^plement,  i. 
98. 

BLASroS,  MATTHIEU  FR^D^RIC, 
born  at  Lauteburg  (Bas-Rhin),  April  23, 
1758,  died  at  Versailles,  1829.  Violinist, 
clai-inetist,  flute  and  bassoon  j^layer,  pupil 
of  his  father.  He  went  early  to  Paris  and 
soon  made  himself  known  as  a  composer  for 
wind  instruments.  In  1791  he  became  chef 
d'orchestre  at  the  Opera  Comique,  then  pro- 
fessor at  the  Consei'vatoire  (until  1802),  and 
bandmaster  of  the  consular  guard.  In 
1816  he  retired  to  Versailles.  Works :  La 
paysanue  supjjost'e,  ou  La  fete  de  la  mois- 
son,  comic  opera,  given  at  the  Comedie  Ita- 
lienne,  1788  ;  Pelletier  de  Saiut-Fai-geau, 
opera,  given  at  the  Opera  Comique,  1793  ; 
L'amour  ermite,  do.,  ib.,  1793  ;  Africo  et 
Menzola,  Don  Pedre  et  Zulika,  Adelson  et 
Salvina,  melodramas.  Symphonic  concer- 
tante  for  2  horns  ;  Three  concertos  for  vio- 
lin ;  Four  do.  for  clarinet ;  One  for  bassoon  ; 
Twelve  quartets  for  strings,  op.  1,  3,  12,  19 ; 
Six  do.  for  bassoon  ;  Three  trios  for  do.,  op. 
48  ;  Trios  for  clarinet,  flute,  and  bassoon, 


op.  31  ;  do.  for  clarinets  ;  Duos  for  do.,  op. 
18,  20,  21,  38,  40,  and  46  ;  do.  for  violins, 
op.  8,  28,  29,  30,  32,  33,  39,  43,  53  ;  Sonatas 
for  violin  and  bass,  etc. — Fetis  ;  do.,  Sup- 
j)lement,  i.  99  ;  Mendel ;  Schilling. 

BLATT,  FRANZ  THADDAUS,  bom  in 
Prague,  1793,  died  (?).  Clarinetist,  pupil 
at  the  Conservatorium,  Prague,  of  Farnick 
on  the  clarinet,  and  of  Dionys  Weber  in 
composition.  In  1814  he  went  on  a  suc- 
cessful concert  tour  through  Germany  and 
the  North  of  Europe,  after  his  return  ob- 
tained a  jjosition  in  the  theatre  orchestra, 
and  in  1818  became  professor  at  the  Con- 
servatoiium.  Works  :  12  caprices  in  form 
of  etudes,  for  clarinet  ;  Trios  for  do.,  op. 
3  ;  Variations  brillantes  for  do.  and  quar- 
tet ;  Introduction  and  variations  for  do.,  and 
orchestra  ;  Three  duos  concertants,  op.  29  ; 
CajJrices  amusauts  for  clarinet,  op.  26  ; 
iStudes,  op.  33  ;  Complete  method  for  clar- 
inet ;  Vocal  method. — Fetis ;  Mendel ;  Schil- 
ling ;  Wurzbach. 

BLAVET,  :\nCHEL,  born  at  Besan5on, 
March  13,  1700,  died  in  Paris,  Oct.  28, 
1768.  Flutist,  self  taught,  and  soon  won 
such  distinction  as  to  be  without  a  rival  ou 
his  instrument.  In  1723  he  settled  in  Paris  ; 
became  a  member  of  the  Opera  orchestra, 
and  made  several  concert  tours,  on  one  of 
which  Frederick  the  Great,  then  crown 
prince,  tried  to  induce  him  to  enter  his  ser- 
vice. Works  :  La  fete  de  Cythere,  opera, 
given  at  Berny,  1753  ;  Le  jaloux  corrige, 
opera-bouffe,  Paris,  Academic  Royale  de 
Musique,  1753  ;  Egle,  pastorale,  ib.,  1750  ; 
Les  jeux  olympiques,  ballet,  1753  ;  Sonatas 
and  other  pieces  for  flute  ;  Music  for  wind 
instruments.- — Fetis ;  do..  Supplement,  i.  99  ; 
Mendel. 

BLAZE.     See  CaMil-Blaze. 

BLAZE,  HENRI  SEBASTIEN,  born  at 
Cavaillon  (Vaucluse),  in  1763,  died  there. 
May  11,  1833.  Dramatic  composer,  pupil 
in  his  native  place  of  the  organist  Lapierre, 
and  in  Paris  of  Sejane.  He  settled  as  a 
lawyer  at  Avignon,  and  after  1794  was  made 
admiuisti'ator   of    his   native    department, 


1S4 


BLEytSEI) 


whence  he  visited  Paris  again  in  1799. 
Works  :  L'hi'ritage  ;  Semiramis,  operas  ; 
Masses  ;  Sonatas  for  pianoforte  ;  Duos  for 
do.  and  harp,  etc.— Fetis  ;  Mendel. 

BLESSED  ARE  THE  MEN  THAT 
FEAE  HIM.  See  Wold  dem  der  den 
Herreu  fiirchtet. 

BLEWITT,  JONAS,  organist  in  the  latter 
part  of  the  18th  century,  died  in  1805.  He 
was  author  of  the  first  treatise  on  the  organ 
published  in  London,  under  the  title  of : 
"A  Treatise  on  the  Organ,  with  Explana- 
tory Voluntaries."  He  also  published  "  Ten 
Voluntaries  for  the  Organ,"  etc.  ;  "  Twelve 
easy  and  familiar  Movements  for  the  Organ." 
— Grove  ;  Futis. 

BLEWITT,  JONATHAN,  born   in  Lon- 
don   in    1782,    died    there,    Sept.    4,   1853. 
Composer  and  singer  of  ballads  ;  son  and 
pupil  of  Jonas  Blewitt,  organist,  and  pupil 
of   Jonathan   Battishill.       At   eleven   years 
old  he  was  deputy  organist  to  his  father 
and  held  other  appoiutmeuts  as  organist  in 
London,  and  in  other  parts  of  England  dur- 
ing his  life.     In  1811  he  went  to  Dublin, 
was  grand  organist  to  the  masonic  body  of 
Ireland,  conducted  concerts  there,  and  was 
associated  with  Logier  in  his  system  of  mu- 
sical instruction.     In   1828-29  he  was  di- 
rector of  the  music  at  Sadler's  Wells  Thea- 
tre,  Loudon,  and  in  his  latter  years  was 
connected    with   Tivoli   Gardens,   Margate. 
Works— Operas,  etc.  :  Harlequin,  or  Man  in 
the  Moon,  pantomime,  1826  ;  Tahsmau  of 
the  Elements  ;  Auld  Robin  Gray  ;  My  Old 
Woman  ;  The  Corsair  ;  The  Magician  ;  Is- 
land of  Saints  ;  Rory  O'More  ;  Mischief  Mak- 
ing, etc.     Songs  :  A  nice  little  man  ;  Adieu, 
my  moustachios ;  Barney  Brallaghan  ;  Eng- 
land, Merry  England ;  Let  us  drink  to  old 
friends  ;  White  Cliffs  of  England  ;  Groves 
of  Blarney  ;  O  for  a  cot ;  Our  jolly  stout 
jackets  of  blue  ;  Phillis,  have  you  seen  my 
love  ?  ;  When  crowned  with  summer  roses. 
He  wrote  also  a  concerto  for  pianoforte  and 
orchestra,  and  sonatas,  caprices,  and  fugues 
for  the  pianoforte  and  the  organ.— Grove  ; 
Brown  ;  Fetis. 


BLIESENER,  JOHANN,  born  in  Prussia 
about  175G,  died  in  Berlin,  February,  1842. 
Violinist,  pupil  of  Giornovichi,  chamber 
musician  to  the  Queen  of  Prussia  in  1791- 
1806.  Works  :  Three  duos  for  violins  (Ber- 
lin, 1789)  ;  do.,  op.  i  (ib.,  1795)  ;  Three 
quartets  for  do.,  viola,  and  violoncello,  op.  2 
(ib.,  1791) ;  do.,  op.  3  (ib.,  1792)  ;  do.,  op. 
5  (ib.,  1797) ;  do.,  op.  6  (ib.,  1799)  ;  3  duos 
for  violin  and  viola,  op.  7  (ib.,  1800)  ;  Con- 
certo for  violin  with  orchestra,  op.  8  (ib., 
1801)  ;  3  duos  for  violin,  op.  15  (Leipsic, 
Breitkopf  &  Hartel) ;  Compositions  for  the 
flute.— Fetis  ;  Mendel. 

BLIND  BEGGAR  OF  BETHNAL 
GREEN,  THE,  English  opera,  music  by 
Thomas  Augustine  Arne,  represented  at 
Drury  Lane  Theatre,  London,  1711. 

BLIND  KING,  THE,  cantata,  music  by 
James  C.  D.  Parker,  first  performed  by  the 
Apollo  Club,  Boston,  Mass.,  April  29,  1885. 
BLODEK,  WILHELM,  born  in  Prague, 
Oct.  3,  1834,  died  there,  May  1,  1874.  Flut- 
ist, pupil  of  Anton  Eiser  at  the  Conserva- 
torium,  where  he  became  professor  in  1860, 
having  meanwhile  taught  at  Lubycz,  Gali- 
cia.  In  1870  he  became  insane,  and  was 
confined  in  the  asylum  in  Prague.  Works  : 
V  studni  (In  the  Well),  Czech  opera,  given 
in  Prague,  1867  ;  Zidek,  do.  (left  unfin- 
ished) ;  Mass  ;  Overture  ;  Quartets  for  male 
voices  ;  Pianoforte  music  and  songs. — Men- 
del ;  Riemann. 

BLOEMENBRUID,  DE,  Flemish  opera, 
text  by  Emil  van  Goethem,  music  by  Franz 
van  Herzeele,  represented  at  the  Theatre 
Minard,  Ghent,  March,  1887.  It  met  with 
well-deserved  success. 

BLONDEL  (Blondeceux,  Blondelaus), 
born  at  Nesle,  in  Picardy,  about  1160  (V). 
A  celebrated  rhymer,  or  minstrel  to  Richard 
L,  King  of  England,  about  1190.  Accord- 
ing to  tradition,  he  discovered  his  master, 
after  searching  for  him  in  the  Holy  Land 
and  in  Germany,  by  singing  under  the  walls 
of  the  Castle  of  LOwenstein,  where  Richard 
was  a  prisoner,  a  song  wdiich  he  and  the 
king  had  jointly  composed.     This  subject 


195 


BLOAV 


furnished  GrutiT  with  tbe  insjjiration  for 
Lis  ojDera,  Richard,  Cceur  de  Lion.  Sixteen 
of  his  chansons  are  in  the  MS.  deixxrtmeut 
of  the  National  Library  of  Paris. — Fetis  ; 
Meudel ;  Schilling  ;  Larousse. 

BLOW,  JOHN,  born  at  North  Colling- 
ham,  Notting- 
hamshire, Eng- 
land, in  1648, 
died  in  London, 
Oct.  1,  1708.  He 
was  one  of  the 
lirst  set  of  chil- 
dren of  the  ChajJ- 
el  Koj-al  on  its 
re  -  establishment 
in  1G60.  His  master  was  Captain  Henry 
Cooke,  but,  on  leaving  the  choir,  he  studied 
under  John  Hiugeston,  and  afterwards  un- 
der Dr.  Christoi^her  Gibbons.  He  had  al- 
ready begun  to  compose  while  a  chorister, 
and  soon  rose  to  great  eminence.  In  1669 
he  was  appointed  organist  at  Westminster 
Abbey,  but  was  displaced  iu  1680  in  favour 
of  Parcell ;  on  the  hitter's  death  in  1695  he 
was  reappointed  to  the  post.  On  March  16, 
1674,  he  was  sworn  in  one  of  the  gentlemen 
of  the  Chapel  Eoyal,  vice  the  Eev.  Roger 
Hill,  deceased,  and  on  July  21,  1674,  he  was 
appointed  master  of  the  children  of  the 
chajiel,  succeeding  Pelham  Humj)hrey.  A 
few  years  later  he  became  one  of  the  organ- 
ists of  the  chapel.  Li  1685  he  was  appoint- 
ed one  of  the  king's  private  musicians,  and 
honorary  composer  to  the  king.  In  1687 
he  succeeded  Michael  Wise  as  almoner  and 
master  of  the  choristers  of  St.  Paul's,  but 
resigned  in  1693  in  favour  of  his  pupil,  Jer- 
emiah Clarke.  In  1699  he  was  the  first  to 
fill  the  office  of  composer  to  the  Chapel 
Royal.  Blow  was  not  a  graduate  of  any 
university  ;  but  the  degree  of  Doctor  of 
Music  was  conferred  upon  him  at  Lambeth 
by  Sancroft,  Ai'chbishofi  of  Canterbury.  He 
was  buried  under  the  organ  in  the  north 
aisle  of  Westminster  Abbey.  Blow  was  a 
voluminous  composer,  and  many  of  his 
works  are  still  extant :   One   hundred  an- 


tliems  ;  Fourteen  church  ser\'ices  ;  Sacred 
songs,  duets,  etc. ;  Odes  for  New  Year's  Day, 
1682,  1683,  1686,  1687,  1688,  1689,  1693  (?), 
1694, 1700  ;  Odes  for  St.  Cecilia's  Day,  1684, 
1691,  1700,  besides  two  which  cannot  be  re- 
ferred to  any  particular  year  ;  Songs,  catches, 
Dryden's  ode  on  the  death  of  Purcell,  etc. 
Unfortunatelj',  very  few  of  these  works  are 
published  ;  some  of  the  church  music  is  in 
Boyce's  "  Cathedral  Music,"  Stevens's  "  Sa- 
cred Music,"  Smith's  "  Musica  Antiqua," 
Playford's  "  Harmonia  Sacra,"  and  in  Clif- 
ford's collection  ;  some  of  the  catches  are 
published  iu  "  The  Catch  Club,"  "  The  Pleas- 
ant Musical  Companion  "  (1724),  and  other 
collections.  Blow's  works  published  by 
themselves  are  :  Lessons  for  the  Harpsi- 
chord (London,  1698,  second  ed.,  1705, 
with  some  by  Purcell)  ;  Ode  for  St.  Cecilia's 
Daj',  1684  ;  Amphion  Anglicus,  containing 
compositions  for  one,  two,  three,  and  four 
voices,  with  accompaniments  of  instrumen- 
tal music,  and  a  thorough  bass,  figured  for 
the  organ,  harpsichord,  or  theorbo-lute,  with 
portrait  of  the  composer  (London,  1700). — 
Grove,  i.  249. 

BLUETS,  LES,  opera-comique  in  four 
acts,  text  by  Cormon  and  Trianon,  music 
by  Jules  Cohen,  first  represented  at  the 
Theatre  Lyrique,  Paris,  Oct.  23,  1867.  Don 
Juan  of  Castile,  wishing  to  leave  his  crown 
to  his  natural  son,  Fabio,  a  brave  soldier, 
imnuu'es  in  a  convent  Estelle,  a  young  girl 
whom  he  loves,  and  gives  him  iu  marriage 
to  Sister  Carmen,  abbess  of  the  convent. 
The  work  was  sung  by  Troy,  Lutz,  and 
Miles  Nilsson  and  Tual.  An  Italian  ver- 
sion, text  by  de  Lauzii-res,  was  given  at  the 
theatre  of  Nice  in  1873.  It  was  j^roduced 
also  at  Covent  Garden,  London,  1880,  under 
the  title  of  Estella,  with  Adelina  Patti  in  the 
princijial  rule. 

BLUM  (Blume),  KARL  LUDWIG,  born 
iu  Berlin  in  1786,  died  there,  July  2,  1844. 
Dramatic  composer  and  organist ;  first  in- 
structed on  the  violoncello  by  the  royal 
chamber  nuisician,  H.  Grosse,  he  went  on 
the  stage  in  1801  as  an  actor  and  singer, 


196 


BLUMENFELDT 


first  in   Berlin,   then   at  Erlaugeu,  aud  iu 
1805  at  Ki'iuigsberg,  where  he  studied  com- 
position under  Hiller  ;  after  his  return  to 
Berlin,  in  1810,  he  brought  out  an  opera, 
and  composed  a  great  deal  of  instrumental 
and  vocal  music.     He  then  spent  five  years 
in  Vienna,  and  became  the  friend  aud  pupil 
of  Saliin  ;  appointed  chamber  musician  and 
composer  to  the  court  of  Prussia  iu  1820, 
he  went  about  that  time  to  Italy  aud  to 
Paris  to  study  the  styles  of  Auber,  Cheru- 
bini,  and  Boieldieu,  returned  to  Berlin  iu 
1822,    taking   charge    of   the   royal   opera. 
After  that  he  travelled  in  Germany,  France, 
and  Italy,  visited  St  Petersburg  in   1828, 
Paris  again  in  1830,  and  London.     He  was 
the  first   to  introduce   the  Freuch  vaude- 
ville iuto  Germany.     Works  :  Claudine  de 
Villa   Bella,    opera,    given    at    KOnigsberg, 
1810  ;  Karl  der  Zweite,  do.,  ib.,  1812  ;  Fe- 
dora, Malvida,  ib.,  1814  ;  Zoraide,  oder  Die 
Mauren    iu    Granada,    Berlin,    1817  ;    Der 
Schiffskapitiin,    oder     Die     Uubefaugenen, 
vaudeville,   ib.,  1817  ;   Fortunata,  operetta, 
Canonicus  Ignaz  Schuster,  vaudeville,   ib., 
1818  ;  Alino,  KOnigiu  von  Golconda,  ballet, 
Vienna,  ISIS  ;  Achilles,  do.,  ib.,  1819  ;  Das 
Rosenhiitchen,  opera,  ib.,  1819  ;  Die  Pageu 
des   Herzogs  von  Vendome,   operetta,   ib., 
1820  ;  Der  Biir  und  der  Bassa,  vaudeville, 
Berlin,  1822  ;  Die  Heirath  im  zwOlften  Jahre, 
operetta,  ib.,  1823  ;  Riquet  der  Haarbiischel, 
opera,  ib.,  1824  ;  Der  schOnste  Tag  des  Le- 
bens,  ib.,   1826  ;  Der  Bramin,  opera,  Der 
Liebe  Macht,  operetta,  ib.,  1827  ;  Die  Wuu- 
derlampe,    do..    Die   Waise   aus   Russland, 
melodrama,   ib.,    1828  ;   Die  Liebe   in  der 
Miidchenschule,  operetta,  ib.,  1S30  ;  Bettina, 
do.,  ib.,  1831  ;  Baldrian  und  Rosa,  do.,  ib., 
1833  ;  Madonna  Ginevra,  opera,  Mary,  Max 
und  Michel,  operetta,  ib.,  1S3G  ;  Metastasio, 
do.,    Weimar,     1836  ;    Bergamo,    do.,    ib., 
1837  ;  Three  serenades  for  flute,  clarinet, 
horn,  2  violins,  viola,  and  bass,  op.  49,  50, 
51  (Mainz,  Schott)  ;  Rondeau  a  la  turque, 
for  pianoforte  and  flute,  op.  35  ;  Many  quar- 
tets, trios,  duos,  and  solos  for  guitar  ;  Pi- 
anoforte music  aud  songs.     He  wrote  also 


a  complete  method  for  the  guitar. — Allgem. 
d.  Biogr.,  ii.  737  ;  Allgem.  mus.  Zeitg.;  Fe- 
tis  ;  Heinrii'h's  Ahnanach  fiir  Freunde  der 
Schauspielkunst  (1845),  109  ;  Mendel  ; 
Schilling. 

BLU.MENFELDT,  ARON  WOLFF,  born 
at  Kurnick,  Posen,  Feb.  29,  1828,  still  liv- 
ing, 1888,  in  Berlin.  Instrumental  and 
vocal  composer,  pupil  of  Carl  Friedrich 
Rungeuhageu  in  Berlin,  where  he  settled 
afterwards  to  teach.  Works  :  Kiiustlerleben, 
opera ;  Cantata,  Berlin,  1851  ;  Pianoforte 
music  and  songs.— Meudek 

BLUMENRODER,  KARL,  born  at  Nu- 
remberg about  1789,  died  (?).  Dramatic 
composer,  became  director  of  music  at  Nu- 
remberg in  181G  ;  conducted  the  music  fes- 
tivals there  iu  1834-35.  Works  :  Turandot, 
given  in  Munich,  ISIO  ;  Die  Jagd,  ib., 
1810;  Die  Biirgschaft,  Nuremberg,  1824. 
— Fetis. 

BLUMENTHAL,  JACOB,  born  in  Ham- 
burg, Oct.  4,  1829,  still 
living,  1888.  Pianist, 
pupil  of  Grund  in  Ham- 
bui-g,  aud  of  Bocklet 
aud  Sechter  in  Vienna, 
and  from  1846  of  Herz 
and  Halevy  at  the  Con- 
servatoire in  Paris.  In 
1848  he  went  to  Lon- 
don and  became  a  fash- 
ionable teacher,  aud  pi- 
anist to  the  Queeu.  Besides  compositions 
for  the  violin  aud  violoncello,  and  piano- 
forte, he  has  written  many  songs,  among 
which  The  Message,  My  Queen,  and  The 
Requital,  are  well  known. — Grove  ;  Futis  ; 
Mendel. 

BLUMENTHAL,  JOSEPH  VON,  born 
in  Brussels,  Nov.  1,  1782,  died  iu  Vienna, 
May  9,  1850.  Dramatic  composer,  pupil  in 
composition  of  the  Abbe  Vogler.  He  was  the 
director  of  a  church  choir  in  Vienna  at  the 
time  of  his  death.  Works  :  Dou  Sylvio  de 
Rosalba,  romantic  opera,  1805  ;  2d  act  of 
the  fairy  piece  Der  kurze  Mantel ;  Entr'actes 
aud  choruses  for  dramas,  such  as :  Colomb, 


197 


BLUMNER 


King  Lear,  Turandot,  Kiitliclien  von  Heil- 
bioun,  Fernautlo  Cortez,  etc.,  and  for  the 
luelodramas  :  Camma,  and  Menasko  et  El- 
wina.  He  wrote  a  ballet,  several  sj-mijlionies 
for  orchestra  ;  Quartets  for  two  violins,  viola 
and  bass,  op.  38 ;  Variations  on  an  air  from 
Cenereutola  by  Kossini,  op.  32  ;  Duos  for 
violins ;  Quartets  for  flute,  op.  31  ;  Masses  ; 
Cantatas  and  chants.  He  was  the  author 
also  of  a  Methode  de  violoii. — Biog.  nat.  de 
Belgique,  ii.  532  ;  Fetis  ;  Mendel ;  Scbilliug. 

BLU:MXEE,  MARTESr,  born  at  Fursten- 
berg,  Mecklenburg-Strelitz,  Nov.  21,  1827, 
still  living,  1888.  Dramatic  composer,  pu- 
pil in  Berlin  of  Dehu.  He  was  appointed 
in  1853  conductor  of  the  Berlin  Siugakad- 
emie,  of  which  he  had  become  a  member  in 
1845.  He  is  a  meritorious  composer,  strict 
in  style,  and  of  considerable  dramatic  power. 
Royal  musical  director  and  professor,  18G0  ; 
member  of  Berlin  Academj-,  1875.  Works : 
Columbus,  cantata,  1853  ;  Abraham,  ora- 
torio, 1860  ;  Der  Fall  Jerusalems,  do.,  1881, 
jjerformed  with  much  success  in  Breslau, 
1881:,  at  the  seventh  Silesian  ^Musical  Festi- 
val ;  Te  Deum  for  eight  voices  ;  Psalms  ; 
Motets  ;  also  Lieder,  duets,  aud  other  vocal 
music.  —  Mendel  ;  Naumaun  (Ouselej'),  ii. 
1218  ;  Eiemann. 

BLUTE  NUE,  DU  LIEBES  HERZ,  aria 
in  B  minor  for  the  soprano  of  Coro  H.,  with 
accompaniment  of  two  flutes,  strings  com- 
l^lete  and  continue,  in  Johann  Sebastian 
Bach's  Passion  nach  Matthilus,  Part  I. 

BLYMA,  FEANZ  XAVER,  born  in  Bo- 
hemia {?),  died  at  Kiev,  Eussia,  in  May, 
1822.  Violinist,  director  of  music  at  Mos- 
cow in  1797,  afterwards  chef  d'orehestre  to 
Count  Comburley.  Works  :  Grande  sym- 
phonie,  op.  1  (Moscow) ;  Symj)hony  in  D, 
op.  2  (Bonn)  ;  Solos  and  pot-pourris  for 
violin,  with  orchestra ;  Airs  varies  for  violin, 
with  do.  and  bass. — Fetis  ;  Mendel. 

BOCCACCIO,  operetta  in  three  acts,  text 
by  Zell  and  Genee,  music  by  Suj)})!',  repre- 
sented at  the  Carltheater,  Vienna,  Feb.  1, 
1879.  It  was  produced  at  the  Comedy 
Theatre,  Loudon,  April  22,  1882. 


BOCCHEEINI,  LUIGI,  born  in  Lucca, 
Italy,  Feb.  19,  1743,  died  in  Madrid,  Spain, 
May  28,  1805.  He 
was  the  son  of  an 
excellent  contra- 
bassist  at  the  ca- 
thedral in  Lucca. 
His  first  instruc- 
tion was  from  his 
father,  the  instru- 
ment of  his  choice 
being  the  violon- 
cello, but  his  mu- 
sical education 
was  soon  confided  to  the  Abbate  Domenico 
Vauucci,  teacher  of  music  aud  singing  at 
the  archiepiscopal  seminary.  The  boy's 
progress  was  so  rapid  that  Vanucci  soon 
found  he  had  nothing  more  to  teach  him, 
and  in  1757  he  was  sent  to  Eome  to  perfect 
himself  ujjon  his  chosen  instrument  aud 
complete  his  studies  iu  counterpoint.  Even 
in  Eome  he  was  not  long  in  distancing  his 
teachers,  but  there  can  be  little  doubt  that 
the  church  music  he  beard  there  (a  cappella 
works  of  Palestrina  iu  the  Sixtine  Chapel, 
and  the  concerti  spirituali  in  other  churches) 
had  a  lasting  influence  upon  his  genius.  He 
returned  to  Lucca  with  the  most  flattering 
testimonials,  but  very  soon  set  out  for  Vi- 
enna and  the  several  electoral  coiu-ts  of 
Germany  ;  this  journey  he  made  both  for 
the  purjiose  of  j^laying  in  public  and  of 
perfecting  his  violoncello  playing.  His 
first  imjMrtant  chamber  compositions  fall 
within  this  period  (six  quartets,  op.  1, 
1761,  and  six  trios,  op.  2,  1760).  On  re- 
turning to  Lucca  he  wrote  an  Azione  dram- 
matica,  Clementina,  and  two  oratorios,  Giu- 
seppe ricouosciuto,  and  Gioas,  Ee  di  Giuda, 
■which  were  brought  out  in  1765  in  the 
Church  of  S.  M.  Corteorlandini  with  great 
success.  He  formed  a  close  friendship  with 
Filippo  Manfredi,  a  young  violinist  of  great 
talent  and  a  jjupil  of  Tartini,  and  in  1767 
the  two  young  musicians  made  a  successful 
concert  tour  together  through  North  Italy. 
Their    jdaying,    and    notably    Boccheriiii's 


198 


BOCCHERLXI 


compositions,  won  such  enthusiastic  recog- 
uitiou  that  the  two  friends  determined  upon 
a  more  extended  tour,  and  in  1768  they  left 
their  native  town  for  good,  going  first  to 
Turin,  thence  through  the  larger  cities  of 
Lombardy,  Piedmont,  and  Provence,  arriv- 
ing finally  iu  Paris.  There,  as  elsewhere, 
they  had  unbounded  success,  both  in  private 
salons  and  at  the  Concerts  Spirituels.  The 
eagerness  of  the  Paris  publishers  to  get 
Boccheriui's  compositions  incited  the  young 
artist  to  fresh  efforts,  and  from  this  time 
forward  he  was  an  untiring  producer.  Act- 
ing on  the  advice  of  the  Spanish  ambassa- 
dor, Boccherini  and  Manfredi  set  out  for 
Madrid,  then  the  Eldorado  of  musicians,  in 
the  fall  of  1768.  Arrived  there,  JNIanfredi 
was  more  successful  than  his  friend,  getting 
almost  immediately  the  position  of  first  vio- 
lin in  the  chajsel  of  the  Infante  Don  Luis, 
but  Boccherini  some  time  later  was  ap- 
pointed chamber  composer  and  chamber 
virtuoso.  In  1780  Manfredi  died,  leaving 
Boccherini  to  depend  wholly  upon  his  own 
resources.  This  was  a  terrible  blow  to 
Boccherini,  who  was  nothing  of  a  man  of 
the  woi-ld,  and  had  a  thorough  distaste  for 
the  intrigues  inseparable  from  the  life  of  a 
virtuoso  at  court.  His  career,  which  had 
begun  so  brilliantly,  was  henceforth  to  be 
but  a  succession  of  humiliations  and  priva- 
tions. His  productiveness  as  a  composer 
was  astounding,  but  he  was  very  ill  x^aid  for 
his  work.  To  till  Manfredi's  place,  Bocche- 
rini had  Gaiitano  Bruuetti  invited  to  come 
to  Madrid.  Brunetti,  a  pupil  of  Nardini, 
was  a  brilliant  violinist  and  clever  composer, 
who  had  won  a  considerable  reputation  iu 
Germany  and  Paris.  On  his  arrival  in  Ma- 
drid Boccherini  overwhelmed  him  with  kind 
attentions,  which  he  accepted  so  long  as  he 
needed  the  master's  patronage,  and  then 
repaid  them  with  the  blackest  ingratitude. 
The  wily  violinist  succeeded  in  estranging 
the  court  interest  from  Boccherini,  and, 
when  the  Infante  died,  in  1785,  the  latter  had 
to  look  around  him  for  another  patron.  An 
unlucky  accident  made  Charles  IV.  his  im- 


placable enemy,  but  his  dedication  of  some 
music  to  Friedrich  Wilhelm  II.  of  Prussia 
was  acknowledged  with  a  golden  snufi-box 
filled  with  friedrichs  d'ors,  and  for  ten  years 
Friedrich  Wilhelm's  patronage  enabled  him 
to  live  tolerably  at  ease.     But  this  enthusi- 
astic patron  died  in   1797,  and  about  the 
same  time  a  pension  which  Boccherini  had 
received  from  the  Spanish  Government  was 
withdrawn.      During  the  previous  decade 
private  misfortunes  had  not  been  wanting  ; 
he  lost  a  wife  and  two  adult  sons,  and  a 
second  wife  died  soon  after  her  marriage. 
His  health  was  very  poor,  and  severe  hem- 
orrhages of  the  lungs  would  at  times  force 
him  to  give  up  violoncello  playing.     AVhilo 
Lucien  Bonaparte  was  ambassador  to  the 
Spanish  court  (October,  1800,  to  February, 
1802)  his  circumstances  were  made   easier 
by  the  art-loving  Frenchman's  munificent 
patronage.    But  when  the  latter  was  recalled, 
abject  poverty  again  stared  Boccherini  in 
the  face.     The  friendship  of  the  Marquis  of 
Benavente  was  of  some  little  help  to  him, 
but  the  hundred  francs  paid  by  that  noble- 
man for  each  quartet  with  guitar  obligato 
that  he  wrote  for  his  especial  use  did  not 
go  very  far,  and  he  had  to  eke  out  a  liveli- 
hood by  rearranging  many  of  his  works  for 
various  instruments  to  satisfy  the  taste  of 
several  of  the   j\Iarquis's   friends.      He  at 
length  determined  to  seek  better  fortunes 
in  France.     Some  French  friends  spoke  in 
his  behalf  to  Madame  Sophie  Ga'il,  a  brill- 
iant   French    pianist    and   singer    then   in 
Madrid,  and  she  interested  herself  keenly 
in  the  poverty-stricken  old  musician's  be- 
half.    She  went  to  see  him,  and  found  him 
living  with  his  whole  family  in  a  single  mis- 
erable room,  in  need  of  even  the  bare  neces- 
saries of  life  ;  but,  in  spite  of  his  poverty, 
he  refused  her  offer  of  one  hundred  louis- 
d'ors  for  a  Stabat  Mater  which  he  had  prom- 
ised   to  a  Paris   editor  (Sieber)   for   sixty 
ducats.     But  her  charity  bettered  his  con- 
dition somewhat,  and  he  could  always  for- 
get his  troubles  if  he  had  music-paper  and 
pen  and  ink  at  hand.     He  never  lived  to 


BOCCIIEllINI 


visit  Paris  again.  Boccberiui'fg  genius  was 
eminently  original  and  inventive  ;  the  whole 
form  of  his  compositions  and  his  manner 
of  treating  his  themes  are  as  much  liis  own 
as  his  melodies  themselves.  His  harmony, 
if  not  invariably  correct,  is  full  of  delicious 
and  unexpected  effects.  In  general,  his 
style  is  noted  for  its  simple  naturalness  and 
naivete.  In  freshness  and  grace  of  melodic 
inspiration,  and  in  purity  of  sentiment,  he 
has  hardly  been  surjsassed  ;  his  adagios  and 
minuets  are  stiU  marvels  of  beauty  ;  his  fi- 
nales alone  seem  antiquated.  The  great 
simplicity  and  a  certain  childlike  innocence 
of  his  style  are  what  has  probably  stood  in 
the  way  of  his  works  being  duly  appreciated 
in  Germany  ;  but  he  and  his  predecessor 
Sammartini  would  have  occupied  very  much 
the  position  in  Italian  instrumental  music 
that  Haydn  and  Mozart  did  in  German, 
had  not  Italy  so  neglected  instrumental 
compo-sition  since  Boccheriui's  day.  As  it 
is,  Cberubini  ■was  the  only  Italian  to  con- 
tinue Boccheriui's  work  in  the  field  of  cham- 
ber music.  Boccheriui's  most  famous  works 
are  his  quintets,  most  of  which  are  for  2  vio- 
lins, viola,  and  2  violoncelli,  an  arrangement 
which  has  been  but  rarely  imitated  since, 
but  which  is  suflSciently  accounted  for  by 
the  composers  intending  the  first  violon- 
cello part  for  himself,  thus  giving  him  a  bet- 
ter chance  for  the  display  of  virtuosity  than 


Villancicos  (motets  for  Christmas)  for  four 
voices  and  orchestra  ;  Ines  de  Castro,  can- 
tata (the  master's  last  work)  ;  13  Arie  acad- 
emiche  with  orchestral  accompaniment.  In- 
strumental works  :  First  Symphony,  4  parts 
with  horn  ad  lib.  (Paris,  Grange,  1767)  ; 
Op.  1,  Sei  sinfonie  ossia  quartetti  (Paris). 
His  instrumental  works,  which  number  up- 
wards of  366,  were  mostly  originally  pub- 
lished by  Vernier  and  La  Chevardiere,  also 
by  Ignaz  Pleyel  in  Paris,  and  reprinted  in 
Amsterdam,  London,  Offenbach,  Worms, 
Mannheim,  Vienna,  Naples,  etc.  Much  con- 
fusion exists  in  the  opus  numbers,  different 
publishers  but  rarely  agreeing  either  among 
themselves  or  with  Bocchei'iui's  MS.  cata- 
logue :  20  symphonies  (11  of  them  in  MS.) ; 
8  Sinfonies  concertantes  ;  1  suite  of  min- 
uets for  orchestra  (MS.) ;  1  concerto  for  vio- 
loncello ;  113  quintets  for  2  violins,  viola, 
and  2  violoncelli  (of  which  20  in  MS.)  ;  12 
quintets  for  2  violins,  2  violas,  and  violon- 
cello (MS.) ;  IG  sextets  (of  which  2  iu  MS.) ; 
2  octets  ;  18  quintets  for  flute,  or  oboe, 
and  strings  ;  12  quintets  for  pianoforte  and 
strings ;  91  quartets  for  2  violins,  viola,  and 
violoncello  (of  which  2  iu  MS.) ;  42  trios  for 
2  violins  and  violoncello  (of  which  2  in  MS.) ; 
12  trios  for  violin,  viola,  and  violoncello  ;  6 
duets  for  2  violins  ;  6  sonatas  for  pianoforte 
and  violin  ;  G  sonatas  for  violin  (violoncello  ?) 
and  bass.     A  complete  catalogue  of  all  Boc- 


the  usual  violoncello  part  (bass)  iu  a  quintet  cherini's  works  may  be  found  in  Schletterer. 
could  legitimately  afford.  Indeed,  the  difS-  '  A  nearly  complete  edition  of  the  trios  and 
culty  and  importance  of  the  first  vio-  . 


loncello  jjart  is  quite  characteristic  of 
the  Boccherini  quintet.  Published 
woi'ks — Vocal :  La  Clementina,  opera, 
given  at  Lucca,  17G5,  Madrid,  1786  ; 
Giuseppe  ricouosciuto,  oratorio,  Lucca, 
1786  ;  Gioas,  Re  di  Giuda,  oratorio,  ib., 
1786  ;  Messa  a  quattro,  con  tutti  instru- 
meuti  obligati,  op.  59,  1800  ;  Stabat 
Mater  for  three  voices  with  string  accom- 
paniment, op.  61,  1800-1  ;  Cantata  al  S. 
Natale  di  N.  S.  Gesti  Christo,  a  4  voci  ob- 
ligati, coro  e  instrumenti,  op.  63,  1802  ; 
Cantici  sacri  for  4  voices  and  orchestra  ; 


.*<j^ 


^ 


quintets  was  begun  in  Paris  by  Janet  &  Co- 
telle  in  1824. — L.  Picquot,  Notice  sur  la  vie 
et  les  ouvragea  de  Luigi  Boccherini,  suivi 
du  catalogue  raisonnu  de  toutes  ses  oeuvres 
(Paris,  1851)  ;  D.  M.  Cerfi,  Cenui  intorno 
alia  vita  di  Luigi  Boccherini  (Lucca,  1864)  ; 
M.  Cristal,  Luigi  Boccherini,  in  Le  Menes- 
trel,  41ii'me  annee  (Paris,  1875)  ;  H.  M. 
Schletterer,    Luigi    Boccherini,    No.    39   of 


200 


BOCHSA 


Sammlung  musikalischer  Vortriige  (Leipsic, 
Bi-eitkopf  &  Hiirtel,  1882)  ;  Dwighfs  Jour- 
nal, xxix.  178. 

BOCHSA,  KARL,  bom  in  Bohemia,  died 
in  Paris  in  1821.  Virtuoso  ou  the  flute  and 
clarinet,  oboist  in  the  orchestra  of  tlie  thea- 
tres in  Lyons  and  Bordeaux.  In  180G  he 
went  to  Paris,  where  he  became  a  music- 
dealer.  Works :  3  quartets  for  clarinet, 
violin,  viola,  and  bass,  op.  1  (Paris,  Janet, 
1799)  ;  3  do.  (Paris,  Momigny) ;  3  do.,  op. 
3  (ib.,  Sieber)  ;  3  nocturnes  in  quartets, 
books  1  and  2  ;  3  quartets  for  oboe,  book  1 ; 
2  do.,  book  2  ;  3  do., 
book  3  ;  6  duos  con- 
certauts  for  t  w  o 
oboes,  op.  5  (Paris, 
P 1  e  y  e  1 ) ;  Concerto 
for  clarinet,  op.  53  ; 
2  quintets  ;  Method 
for  the  flute  (Paris,  Omont) ;  do.  for  the 
clarinet  (ib.). — Fotis  ;  Mendel, 

BOCHSA,  EOBERT  NICOLAS 
CHARLES,  born  at 
Montmedi  (Meuse), 
Aug.  9,  1789,  died 
at  Sydney,  Austra- 
lia, Jan.  7,  185fi. 
Dramatic  compos- 
er and  celebrated 
harpist,  son  of  and 
first  instructed  by 
Karl  Bochsa,  then 
pupil  in  composi- 
tion of  Franz  Beck  at  Bordeaux,  and  in  1806 
of  Catel  and  Mehul  at  the  Conservatoire, 
Paris,  where  he  studied  also  the  harp  under 
Nadermann  and  Marin,  but  soon  formed  a 
style  of  his  own,  and  revolutionized  harp 
playing.  He  was  a  musical  prodigy  who 
played  a  pianoforte  concerto  in  public  at 
the  age  of  seven,  comi^osed  a  symphony 
when  nine,  had  written  several  overtures 
and  quartets  when  twelve,  and  brought  out 
an  opera  at  Lyons  when  sixteen.  In  1813 
he  became  harpist  to  Napoleon  I.,  and  kept 
his  position  under  Louis  XVHI.  Detected 
in  forgeries,  he  was  compelled  to  leave  Paris 


in  1817,  and  took  refuge  in  London,  where 
he  tauglit  the  harp,  and  had  among  his  pu- 
pils Parish-Alvars  and  Chatterton.  In  1822 
he  imdertook,  with  Sir  George  Smart,  the 
Lenten  oratorios,  and  in  1828  assumed  entire 
direction  of  them.  He  was  appointed  pro- 
fessor of  the  harp  and  general  secretary  to 
the  Royal  Academy  of  Music  at  its  institu- 
tion, but  was  dismissed  in  1827.  Succeed- 
ing Coccia,  he  conducted  Italian  opera  at 
the  King's  Theatre  in  1826-32,  eloped  with 
Sir  Henry  Bishoji's  wife  in  1839,  and  with 
her  made  a  concert  tour  through  Europe 


/^>$^^;5^^ 


and  America,  and  finally  went  to  Sydney, 
where  he  died  of  dropsy.  Works — Operas : 
Trajan,  given  at  Lyons,  1804  ;  Les  heritiers 
de  Paimpol,  Paris,  Opera  Comique,  1813  ; 
Alphonse  d'Aragon,  Les  heritiers  Michau, 
ib.,  181-4  ;  Les  noces  de  Gamache,  Le  Roi 
et  la  Ligue,  La  lettre  de  change,  ib., 
1815 ;  La  bataille  de  Denain,  Un  mari 
pour  fitrenne,  ib.,  1816.  Ballets :  Danso- 
manie  (1806)  ;  Beniowski,  or  the  Exiles 
of  Kamchatka ;  Le  corsaire  ;  Le  Deluge 
universel,  oratorio,  performed  in  London, 
1823  ;  Requiem  mass  ;  Apotheosis  of  Louis 
XVI.;  Motet  et  Vivat ;  Solo  and  chorus  in 
three  parts  with  instruments ;  Overtures 
and  symphonies  for  orchestra ;  Caprices, 
concertos,  duos,  fantaisies,  nocturnes,  so- 
natas, studies,  variations,  and  arrangements 
for  the  harjj  alone  and  with  other  instru- 
ments ;  Method  for  the  harp,  which  is  still 
the  best  of  its  kind. — Fctis  ;  Grove  ;  Men- 
del ;  Schilling. 

BOCKELER,  HEINRICH,  born  at  Co- 
logne, July  11,  1836,  still  living,  1888,  at 
Aix-la-Chapelle.  Church  composer,  pupil 
of  the  Conservatorium,  Cologne,  especially 
of  Ferdinand  Hiller,  in  counterpoint.  He 
became   vicar  in    1862  at  Aix-la-Chapelle, 


BOCKSHORN 


and  Las  had  a  great  influence  on  the  culti- 
vation of  church  music  in  that  city.  In 
1876  he  was  made  choir  director  at  the 
Stiftskirche.  Works:  Mangou,  missa  in 
summis  festis ;  Processionale,  3  books  ; 
Songs  for  the  different  seasons  of  the 
church  year,  for  male  voices  ;  Latin  songs 
for  male  and  for  mixed  chorus  ;  Collection 
of  two-jjart  songs,  etc. — Mendel,  Ergauz., 
38. 

BOCKSHOEN,  SAMUEL  (called  Capri- 
cornus),  born  in 
Germany  in  1629, 
died  at  Stuttgart 
about  1669.  H  e 
was  director  of  mu- 
sic at  the  Trinity 
Church,  Presburg, 
Hungary,  and  in 
1657  Kapellmeister 
to  the  Duke  of 
Wiirtemberg  at  Stuttgart.  Works :  Kajjtus 
Proser2:)iufe,  dramatic  cantata,  1602  ;  and 
many  sonatas,  capriccios,  motets,  chants, 
etc.,  published  in  Nuremberg,  Stuttgart, 
Vienna,  Wiirzburg,  and  other  cities.  The 
Royal  Library  at  Berlin  has  the  following 
MSS. :  Miserere  for  five  voices  and  instru- 
ments ;  ]\Iiserere  for  eight  voices,  four  vio- 
lins, and  basso  continuo  ;  Ecce  quam  bonum, 
motet  for  five  voices  and  instruments  ;  O 
bone  lesu,  five  voices  and  five  viols. — All- 
gem,  d.  Biogr.,  ii.  792  ;  Fetis. 

BOCQUILLON-WILHEM.  See  Wilhem. 
BODE,  JOHANN  JOACHIM  CHIIIS- 
TOPH,  born  at  Barum,  Brunswick,  Jan.  16, 
1730,  died  at  Weimar,  Dec.  13,  1793.  In- 
strumental composer,  first  instructed  by  the 
city  musician  Kroll  at  Brunswick  (17-15), 
then  jjupil  on  the  bassoon  of  the  chamber 
musician  Stolz  at  Helmstedt.  Having  ob- 
tained a  position  in  1775  as  oboe  player  at 
Celle,  he  went  thence  to  Hamburg,  where, 
besides  teaching  music,  he  edited  the  Ham- 
burger Correspondent  in  1762-63,  and  made 
a  sj)ecia]ty  of  translating  from  the  English. 
He  conducted  the  regular  winter  concerts, 
and  later  became  Lessing's  jiartner   as   a 


jn'inter  and  publisher.  In  1778  he  went  to 
.  Weimar,  and  devoted  himself  to  composi- 
tion and  literary  work.  He  composed  sym- 
phonies, concertos  for  violin,  for  violon- 
,  cello,  for  bassoon,  trios,  soli  for  viola  d' 
amore,  etc. — Allgem.  d.  Biogr.,  ii.  795 ; 
Fetis  ;  Gerber,  N.  Lex.;  Mendel ;  Schilling. 

BODENSCHATZ,  EKHAED,  born  at 
Lichtenberg,  Saxony,  about  1570,  died  at 
Gross-Osterhausen,  near  Querfurt,  in  1638. 
Church  composer,  studied  theology  at  Leip- 
sic,  became  cantor  at  Schulpforta  in  1600, 
jsastor  at  Rehhausen  in  1603,  and  at  Gross- 
Osterhausen  in  1608.  His  name  is  best  re- 
membered by  the  following  valuable  collec- 
tions, edited  by  him  :  Florilegium  Portense, 
containing  115  motets  (Leipsic,  1603);  do., 
2d  part,  containing  150  motets  (ib.,  1621)  ; 
Florilegium  selectissimorum,  etc.  (ib.,  1606). 
His  own  works  are  :  Magnificat  sampt  Be- 
nedicamus  (ib.,  1599)  ;  Psalterium  Davidis 
(ib.,  1605)  ;  Harmonia  angelica  (ib.,  1608) ; 
Bicinia  XC  selectissima,  etc.  (ib.,  1615). — 
Allgem.  d.  Biogr.,  iii.  6  ;  Fctis  ;  Gerber,  N. 
Lex.;  Mendel. 

BOELY,  ALEXANDRE  PIERRE  FRAN- 
gOIS,  born  at  Versailles,  April  19,  1785, 
died  in  Paris,  Dec.  27,  1858.  Pianist  and 
organist,  first  instructed  by  his  jDarents, 
then  pupil  at  the  Conservatoire  of  Laduruer 
on  the  violin,  and  self  taught  in  harmony. 
In  1830  he  devoted  himself  to  the  study  of 
the  organ,  and  was  for  several  years  organ- 
ist at  Saint-Germain  I'Auxerrois.     Works  : 

2  sonatas  for  pianoforte,  op.  1  ;  30  caprices, 
op.  2  ;  Air  varie  for  pianoforte  and  violin, 
op.  3  ;  Duo  for  jiianoforte  for  i  hands,  op.  4  ; 

3  trios  for  strings,  op.  5  ;  30  etudes,  op.  6  ; 
2  caprices  for  -1  and  1  for  3  hands,  op.  7  ;  Ca- 
price for  ijianoforte  solo,  op.  8  ;  4  offertories 
for  organ,  op.  9  ;  Mass  for  Christmas,  op. 
10  ;  14  pieces  for  organ,  op.  11 ;  24  do.,  op. 
12,  etc.— Fetis. 

BOERS,  JOSEPH  KAREL,  born  at 
Nymwegen  in  1812,  still  living,  1888.  Vio- 
linist, pupil  of  his  father,  and,  at  the  Royal 
School  of  Music  at  The  Hague,  of  Lubeck. 
In  1831  he  was  made   chef  d'orchestre  at 


2U2 


BOESSET 


the  National  Opera,  and  in  1837  went  to 
Paris,  wliere  lie  spent  two  years,  then  was 
chef  d'orchestre  at  the  theatre  at  Metz  until 
1841,  when  he  returned  to  his  native  city  ; 
there  he  conducted  a  choral  society,  and  in 
1853  went  as  musical  director  to  Delft.  In 
1848  he  conducted  the  great  music  festival 
at  Arnheim,  and  in  1861  one  at  Nymwegen. 
He  has  composed  a  symphony,  overtures, 
choral  works,  cantatas,  and  several  collec- 
tions of  songs. — Fetis  ;  Supplement,  i.  102  ; 
Mendel,  Ergilnz.;  Viotta. 

BOESSET,  ANTOINE,  Sieur  de  Ville- 
dieu,  born  in  France  about  158.5,  died  in 
1643.  He  was  surintendant  de  la  musique 
des  chambres  du  roi  et  de  la  reine,  1615- 
1617,  under  Louis  XIII.,  and  counsellor  to 
that  king  in  1632.  He  was  quite  celebrated 
in  France  for  his  airs  for  foiu'  parts,  which 
appeared  in  several  collections,  as  follows : 
"  Airs  de  cour  a  quatre  et  a  cinq  parties  en 
neuf  livres"  (1617,  1620,  1621,  1624,  1626, 
1629,  1630,  1632).  The  tenth  is  entitled  : 
"Airs  de  cour  en  tablature  de  luth,"  and  was 
published  after  his  death.  Tlie  first  was 
translated  into  English  as  "  Court  Ayres 
with  their  ditties  Englished "  (London, 
1629).  The  National  Library,  Paris,  has  a 
collection  in  MS.  He  wrote  a  great  deal  of 
ballet  music,  among  which  are  :  Ballet  des 
dix  Verds  (1614)  ;  Ballet  danced  by  Louis 
XIII.  (Jan.  29,  1617);  Apollon  '(1621); 
Fetes  de  Junon  (1623)  ;  Les  Fetes  des  fo- 
rets  de  Saint-Germain  (1625)  ;  Des  Tri- 
omphes  (1635) ;  etc.  His  son,  Jean  Bap- 
tiste  Boiisset,  was  also  musician  to  Louis 
XIII.— Fetis. 

BOHEMIAN  GIRL,  THE,  grand  opera 
in  three  acts,  text  by  Alfred  Bunn,  music 
by  Balfe,  first  represented  at  Drury  Lane, 
London,  Nov.  27,  1843.  The  libretto  is  an 
adaptation  of  La  Gipsy,  a  ballet  written  for 
Fanny  Ellsler  by  Saint-Georges  and  Mazil- 
lier,  music  by  Benoist,  Thomas,  and  Mar- 
liani,  given  at  the  Opera,  Paris,  Jan.  28, 
1839,  which  in  turn  was  taken  from  "Tlie 
Gj-psy  of  Madrid,"  one  of  the  "Novelaa 
Ejemplares  "  of  Cervantes,  which  furnished 


also  the  text  of  Weber's  Preciosa.  The 
scene,  laid  in  Scotland  in  the  ballet,  is  trans- 
ferred to  Hungary  in  the  opera.  The  work, 
which  became  at  once  popular  in  England, 
has  been  translated  and  successfullj-  pro- 
duced in  nearly  aU  the  languages  of  Europe, 
and  it  will  jDrobably  keep  the  stage  as  long 
as  any  of  the  ballad  operas.  It  was  repro- 
duced in  Italian  as  La  Zingara,  at  Her 
Majesty's  Theatre,  London,  Feb.  6,  1858. 
It  was  played  as  La  Gitana  in  Hamburg ; 
in  Vienna  and  Berlin  as  Die  Zigeunerin  ; 
and  in  Paris,  in  four  acts  and  a  prologue, 
French  text  by  Saint-Georges,  with  several 
additional  numbers  by  the  composer,  as  La 
Bohemienne,  at  the  Theatre  Lyrique,  Dee. 
30,  1869. 

Original  Cast,  London,  1843. 

Arline JNIiss  Roraer. 

Thaddeus Mr.  Harrison. 

Gypsy  Queen Miss  Belts. 

Devilshoof Mr.  Stretton. 

Count  Arnheim jNIr.  Borrani. 

Florestein INIr.  Durnset. 

Arline,  davighter  of  Count  Arnheim,  Gov- 
ernor of  Presburg,  is  rescued  from  the  at- 
tack of  a  stag  by  Thaddeus,  a  Polish  refu- 
gee, who  has  joined  a  troop  of  gypsies  to 
escaj^e  the  Austrian  soldiers.  The  exile,  in- 
vited to  the  hunting  banquet  by  the  grate- 
ful father,  refuses  to  drink  the  health  of  the 
Emperor,  and  is  saved  from  the  soldiers  by 
Devilshoof,  the  gypsy  chief,  who  is  arrested 
for  his  interference  and  taken  to  the  castle. 
Thaddeus  is  allowed  to  dejjart,  and  Devils- 
hoof escapes,  carrying  Arline  with  him.  The 
second  act,  twelve  years  later,  shows  Arline 
asleep  in  the  Queen's  tent  in  the  gypsj'  camp, 
with  Thaddeus  watching  over  her.  On  her 
awaking,  Thaddeus  tells  her  of  her  rescue 
from  the  stag,  which  explains  a  scar  upon 
her  arm,  and  declares  his  love,  which  is  re- 
turned, and  the  two  are  united,  according  to 
the  gypsy  custom,  by  the  Queen,  who,  also 
in  love  with  Thaddeus,  at  the  same  time 
vows  vengeance.     During  a  visit  to  a  fair  in 


BOHLEN 


the  city,  Aiiiue  is  arrested  for  the  theft  of  a 
medallion,  stolen  some  time  previously  from 
Florestein,  nephew  of  Count  Aruheim,  and 
maliciously  given  her  by  the  Queen.  She  is 
taken  for  trial  before  Count  Aruheim,  who 
questions  her  about  the  scar  on  her  arm,  and 
through  it  discovers  his  long-lost  daughter. 
In  the  third  act,  which  opens  in  the  salon 
of  Count  Aruheim,  Arline  ajjpears  in  her 
former  position,  but  still  retains  her  love  for 
Thaddeus,  who,  accompanied  by  Devilshoof, 
has  gained  access  to  the  castle.  The  Gyjjsy 
Queen,  intent  on  revenge,  j'oints  out  the 
place  of  concealment  of  her  companions,  and 
Thaddeus  is  ordered  to  leave.  Arline  de- 
clares her  love  and  her  intention  to  accom- 
pany him,  Thaddeus  jjroves  his  noble  de- 
scent, and  the  Count  finally  gives  him  the 
hand  of  his  daughter.  The  Queen,  enraged, 
orders  one  of  the  tribe  to  shoot  Thaddeus, 
but  Devilshoof  throws  ujj  the  weapon  and 
the  bullet  pierces  the  Queen's  breast.  Among 
the  noteworthy  numbers  in  the  Bohemian 
Girl  are,  in  the  first  act :  "  'Tis  sad  to  leave 
your  Fatherland,"  sung  by  Thaddeus,  and 
the  closing  prayer,  "Thou  who,  in  might 
supreme."  In  the  second:  "  Silence,  silence, 
the  Lady  Moon,"  a  chorus  by  the  gypsies  ; 
"  I  dreamt  I  dwelt  in  marble  halls,"  and 
"  Come  with  the  gypsy  bride,"  sung  by  Ar- 
line ;  "From  the  valleys  and  hills,"  quartet 
by  Arline,  tlie  Queen,  Devilshoof,  and  Thad- 
deus ;  and  "The  heart  bowed  down,"  by 
Count  Arnheim.  In  the  third  :  "  When 
other  lips  and  other  hearts,"  and  "  When 
the  fair  land  of  Poland,"  both  sung  by 
Tliaddeus. — W.  A.  Barrett,  Balfe  (London, 
1882),  15-4  ;  Kenney,  Memoir,  182. 

BOHLEN,  ADRIAN,  born  at  Aurich, 
East  Friesland,  Oct.  19,  1G79,  died  at  Jever, 
March  17,  1727.  Church  composer  of  dis- 
tinction, contemporary  of  Bach,  jjupil  of  his 
father  on  the  organ  and  harpsichord,  and  at 
Norden  of  the  organist  Druckmiiller.  He 
studied  theology  at  Wittenberg,  and  became 
cantor  in  his  native  city,  and  in  1700  went 
to  Hamburg,  whence  he  was  called  to  Stade 
as  director  of  music.     In  1705  he  became 


cantor  at  Jever.  His  numerous  and  greatly 
esteemed  compositions  were  left  in  manu- 
script.— Fetis  ;  Mendel ;  Schilling. 

BOHM,  HEINRICH,  born  at  Blatna, 
Bohemia,  in  1836,  still  living,  1888.  Dra- 
matic comjjoser ;  son  of  the  choir  leader 
at  Blatna,  who  had  also  written  an  opera 
called  Krakonos.  Heiurich  is  the  author  of 
thirty-five  or  more  operas  and  operettas, 
which  are  popular  on  the  Bohemian  stage. 
— Grove  ;  Mendel. 

BOHM,  JOHANN,  born  at  Blatna,  Bo- 
hemia, in  1810,  died  there  in  1869.  Organ- 
ist, wrote  masses,  choruses,  and  songs,  also 
a  Czech  fairy-opera,  Krakonos,  which  is, 
however,  unfinished.  Another  composer  of 
the  same  name  was  an  eminent  violinist  and 
orchestra  conductor  during  the  last  decades 
of  the  eighteenth  and  at  the  beginning  of  this 
ceutui-y.  The  following  operas  by  him  were 
given  in  Germany  :  Das  Muster  der  Liebe, 
Die  Braut  im  Schleier,  Philander,  about 
1800  ;  Philemon  und  Baucis,  about  1805. 

BOHM,  JOSEPH,  born  at  Pesth,  March 
4,  1795,  died  in  Vienna,  March  23,  1876. 
Violinist  of  repute  and  pupil  of  his  father 
and  of  Kode.  He  jjlayed  with  success  at  Vi- 
enna in  1815,  travelled  several  years  in  Italy, 
phu'ed  at  La  Scala,  Milan,  and  returned  in 
1819  to  Vienna,  where  he  was  appointed  vio- 
linist to  the  Royal  Chapel  and  professor  of 
the  violin  at  the  Conservatorium,  retiring  iu 
1848.  He  travelled  through  Germany  and 
France  for  two  years,  giving  concerts  in  the 
principal  cities.  For  fifty  years  he  resided 
at  Vienna  and  earned  renown  as  a  teacher, 
having  for  j)upils  Ernst,  Joachim,  Ludwig 
Straus,  Singer,  Helmesberger,  and  many 
other  well-known  violinists.  He  published 
20  compositions  for  the  violin,  among  which 
are  :  Polonaise  pour  le  violon,  op.  1.  ;  Varia- 
tions brillantes,  op.  2  ;  Polonaise  for  violin, 
two  second  violins,  alto  and  bass,  op.  8  ; 
Quartets  for  two  violins,  alto  and  bass. 
— Fctis  ;  Hanslick,  Concertweseu  in  Wien, 
205,  231  ;  Mendel ;  Hart,  Violin  and  Vio- 
linists. 435  ;  Wasielewski,  Die  Violine  und 
ihre  Meister,  346. 


204 


BOHM 


BOHM,  THEOB.ILD,  born  in  Municli, 
April  4,  1794  ilied  there,  Nov.  25,  ISSl. 
Flute  player  of  distinction  and  inventor  of 
the  well-known  system  of  flute-fingering 
which  is  named  after  him,  and  which  he 
perfected  in  1831.  He  was  Kammermu- 
sicus  at  Munich,  and  composed  many  brill- 
iant works  for  his  instrument,  consisting 
of  polonaises,  fantaisies,  variations,  etudes, 
etc.  He  was  author  also  of  a  work  en- 
titled, Uber  den  Flotenbau  und  die  neusten 
Verbesserungen  desselben  (Mainz,  1847). 
— Grove  ;  Fctis  ;  Mendel  ;   Schilling. 

BOHME,  (FRANZ)  MAGNUS,  born  at 
Willerstedt,  near  Weimar,  March  11,  1827, 
still  living,  1888,  at  Dresden.  Vocal  com- 
poser, pupil  of  G.  Tiipfer,  then  at  Leipsic  of 
Moritz  Hauptmann  and  Julius  Rietz  ;  lived 
for  twenty  years  in  Dresden  teaching  music, 
and  received  the  title  of  royal  professor.  In 
1878-85  he  was  jsrofessor  of  musical  history 
and  counterpoint  at  Hoch's  Conservatorium 
in  Frankfort,  and  since  1886  has  lived  again 
iu  Dresden.  He  has  composed  several 
books  of  sacred  choruses,  and  popular  songs 
for  male  chorus. — Mendel,  Ergiinz.,  40. 

BOHNER,  JOHANN  LUDWIG,  born  at 
Tottelstiidt,  Gotha,  Jan.  8,  1787,  died  at 
Gotha,  March  28,  1860.  Pianist  and  or- 
ganist, pupil  at  Erfurt  of  G.  H.  Kluge  on 
the  organ,  and  of  Michael  Gotthardt  Fischer 
iu  composition,  then  of  Spohr  at  Gotha, 
whence  iu  1808  he  went  to  Jena.  In  1810 
he  set  out  on  a  concert  tour  through  North 
Germany  to  Sweden,  then  to  Switzerland, 
winning  applause  everywhere,  and  living 
for  five  years  at  Nuremberg,  where  his  best 
compositions  originated.  In  1820  he  re- 
turned to  his  native  town  and  afterwards  led 
an  unsteady  life,  becoming  a  confirmed 
drunkard,  and  finally  playing  in  taverns  for 
a  supper.  Works  :  Quartet  for  piauoforte, 
violin,  viola,  and  bass,  op.  4  (Leipsic,  Breit- 
kopf  &  Hiirtel) ;  Concertos  for  pianoforte 
with  orchestra,  op.  7,  8,  11  (ib.)  ;  Serenade 
for  two  violins,  viola,  flute,  2  horns,  bas- 
soon, violoncello,  and  double-bass,  op.  9 
(ib.)  ;    Concertos  en   fantaisie,    op.    13,   14 


(Leipsic,  Hofmeister) ;  Sonatas  for  piano- 
forte, op.  15  (ib.)  ;  Fantasia  with  variations 
for  clarinet  and  orchestra,  op.  21  (Leipsic, 
Breitkopf  &  Hiirtel) ;  Variations  for  horn 
with  quartet,  op.  24  (Mainz,  Schott)  ;  Sonata 
for  pianoforte  and  violin,  op.  37  (Copen- 
hagen, Lose)  ;  Variations  for  piauoforte,  op. 
3,  6,  12,  20,  51,  53,  55  (Leipsic,  Coburg,  Of- 
fenbach, Bonn,  Nuremberg) ;  Fantasias, 
caprices,  bagatelles,  etc.,  for  do.,  op.  19,  22, 
31,  91,  92  (Leijisic,  Hamburg,  Frankfort,  and 
Augsburg) ;  Quartets  for  2  violins,  viola,  and 
bass  ;  Fantasia  for  two  pianofortes,  op.  60  ; 
Variations  for  pianoforte  with  orchestra,  op. 
120  (last  work) ;  Der  Dreiherrensteiu,  op- 
era ;  Overtures  for  grand  orchestra ;  Twelve 
quartets  for  string  instruments  ;  Motets  ; 
Several  collections  of  songs. — AUgem.  d. 
Biogr.,  iii.  82  ;  Fetis  ;  Mendel ;  Schilling. 

BOHRER,  ANTON,  born  iu  Munich  in 
1783,  died  at  Hanover  iu  1852.  Violinist, 
son  of  and  first  iustructed  by  Caspar  Bohrer, 
a  celebrated  double-bass  player  and  trumjs- 
eter  (1744-1809)  ;  pupil  of  Danzi  iu  com- 
position, and  in  Paris  of  Winter  and  Kreut- 
zer  on  the  violin.  He  was  made  violin 
player  iu  the  court  orchestra  at  Munich, 
and  travelled  iu  Bohemia  and  Austria  with 
his  father.  Subsequently  he  undertook  a 
musical  tour  with  his  brother  Maximilian 
through  Switzerland,  France,  etc. ;  on  their 
return  to  Munich  they  studied  togethei',  to 
prepare  for  a  protracted  concert  tour  through 
Germany,  Holland,  Austria,  Poland,  and 
Russia,  on  which  they  started  in  1810. 
Having  narrowly  escaped  deportation  to 
Siberia,  and  silent  a  year  at  St.  Petersburg, 
they  went  through  Finland,  Sweden,  and 
Denmark,  to  England,  returned  to  Munich 
in  1814,  gave  concerts  in  Paris,  with  brill- 
iant success,  iu  1815  and  again  after  a  sec- 
ond visit  to  Englaud,  then  went  to  Berlin, 
where  Anton  was  appointed  Conzertmeister 
in  the  royal  orchestra.  They  went  to  Italy 
in  1820,  returniug  to  Berlin  in  1824,  when 
they  quarrelled  with  Spontini  and  threw  up 
their  positions  to  return  to  Munich.  There 
they   married    two    distinguished    pianists 


80.5 


BOHREE 


■who  were  sisters,  and  in  this  new  artistic 
association  won  new  triumphs  in  Italy  and 
in  1827  in  Paris,  which  they  left  at  the 
outbreak  of  the  Eevolution  of  1830,  when 
for  the  first  time  the  brothers  separated, 
and  Anton,  after  travelling  about,  went  in 
1834:  to  Hanover  as  Conzertmeister.  His 
works  consist  of  concerted  symphonies  for 
violin  and  violoncello  (Paris,  Pleyel)  ;  Four 
concertos  for  violin  and  orchestra,  op.  9,  12, 
17,  27  (Paris  and  Offenbach) ;  Quartets  for 
2  violins,  viola,  and  bass,  op.  23  ;  Trios  for 
2  violins  and  violoncello,  op.  13 ;  do.  for  vio- 
lin, viola,  and  violoncello,  op.  14  and  15  ; 
Caprices  or  etudes  for  violin  ;  Duos  for  vio- 
lin and  violoncello,  and  a  number  of  airs 
varies  for  violin  with  orchestra.  —  Fetis  ; 
Mendel  ;  Schilling ;  Meyer,  Con.  Lex. 

BOHRER,  MAXIMILIAN,  born  in  Mu- 
nich in  1785,  died  (?).  Celebrated  violon- 
cellist, brother  of  Anton  Bohrer,  and  pupil 
of  Schwartz  at  Munich.  In  1799  he  became 
a  member  of  the  court  orchestra,  and  later 
travelled  with  his  brother.  Having  heard 
Romberg  in  Vienna,  he  adopted  him  as  hia 
model.  After  leaving  Paris  in  1830,  he 
travelled  in  Germany  and  was  made  first 
violoncellist  and  Conzertmeister  at  the  court 
of  Stuttgart ;  went  to  Russia  for  the  second 
time  in  1838,  and  in  1840  journeyed  through 
Italy.  From  1842  to  1843  he  was  in  Amer- 
ica, and  on  his  return  visited  Holland,  Bel- 
gium, and  England.  Works  :  3  concertos 
for  violoncello,  ijublished  in  Paris  and  Ber- 
lin ;  Airs  varies  ;  Fantaisie  with  orchestra 
on  Russian  national  airs,  op.  21 ;  Eondoletto 
with  quartet,  op.  22  ;  Duos  for  violin  and 
violoncello. — Fetis;  ]\Iendel ;  Schilling. 

BOIELDIEU,  FRANCOIS  ADRIEN, 
born  in  Rouen,  France,  Dec.  16,  1775,  died 
at  Jarcy,  near  Grosbois,  Oct.  8,  1834.  His 
father  was  secretary  to  Archbishop  La- 
rochefoucauld,  and  his  mother  kept  a  milli- 
nery shop.  The  young  Boieldieu  took  his 
first  musical  instruction  from  Broche.  or- 
ganist at  the  cathedral  and  a  pupil  of  Pulrc 
Martini.  It  has  been  suspected  that  Boiel- 
dieu's  home  life  was  not  a  ha23j)y  one,  but, 


at  any  rate,  he  began  to  live  in  Broche's 
house  when  quite  young,  although  his  mas- 
ter treated  him 
with  great  bru- 
tality. Fright- 
ened one  day  at 
having  made 
an  ink-spot  on 
one  of  Broche's 
books,  the  boy 
ran  away  to 
Paris,  where 
he  was  found 
by  his  family 
after  some  trouble,  and  brought  back  to 
Rouen,  Broche  promising  to  treat  him  more 
kindly  in  future.  What  Boieldieu  learned 
of  Broche  can  hardly  have  been  more  than 
rudimentary,  but  there  are  no  authentic  ac- 
counts of  his  having  studied  under  anj' 
other  master.  His  native  talent  was  of  the 
finest,  and  he  had  a  very  quick  power  of 
observation,  but  his  distaste  for  serious 
study  of  harmony  and  counterjDoint  was  un- 
conquerable. Hia  great  ambition  was  to 
write  for  the  stage  ;  accordingly  he  wrote 
an  opera,  La  fille  coupable,  which  was 
brought  out  at  Rouen  in  1793  with  much 
success.  His  success  made  him  ambitious 
to  try  his  fortunes  in  the  capital,  but  it  is 
uncertain  whether  he  left  Rouen  immedi- 
ately, or  in  1795  after  the  performance  of  a 
second  opera,  Rosalie  et  Myrza  ;  when  he 
did  leave  his  native  town,  he  made  the  jour- 
ney to  Paris  on  foot  (having  hardly  any 
money)  in  two  days.  He  brought  an  intro- 
duction from  the  singer  Garat  to  Jadin,  at 
whose  house,  and  at  Erard's,  he  met  the 
principal  musical  notabilities  then  in  Paris. 
He  had  a  pretty  talent  on  the  pianoforte, 
and  soon  made  quite  a  reputation  for  him- 
self, in  musical  circles,  by  his  songs,  such  as 
"Le  menestrel,"  "S'il  est  vrai  que  d'etre 
deux,"  and  "  O  toi  que  j'aime,"  but  the  doors 
of  the  lyric  theatres  were  shut  against  him 
for  some  time.  Although  intimate  with, 
and  befriended  by  both  Cherubini  and  Mv- 
hul,  he  characteristically  neglected  to  avail 


206 


BOIELDIEU 


liiiuself  of  the  opportunity  to  take  lessons 
iu  composilioii  from  either  of  them.  He 
made  bis  debut  as  au  oj)era  composer  in 
Paris  with  La  FainiUe  Suisse,  which  was 
brought  out  at  the  Feydeau  iu  1797,  and 
ran  for  thirty  nights,  alternating  with  Che- 
rubini's  Medee.  Other  operas  followed 
quickly,  until  Le  Calife  de  Bagdad,  1800, 
set  the  seal  to  his  ever-growing  reputation. 
This  charming  opera  may  be  called  the  last 
and  best  of  the  first  period  of  Boieldieu's 
artistic  career.  During  this  period  he  also 
wrote  some  chamber  music,  to  the  success 
of  which  he  owed  his  appointment  as  pro- 
fessor of  the  pianoforte  at  the  Conservatoire. 
It  is  said  that,  after  Le  Calife  de  Bagdad, 
Boieldieu  studied  counterijoint  seriously  un- 
der Cherubini,  but  FcJtis  (a  pupil  of  Boiel- 
dieu) denies  the  story.  Indeed,  the  fact  that 
Boieldieu  did  not  produce  another  opera  for 
three  years,  and  the  internal  evidence  of 
the  vast  improvement  in  his  style  when  he 
took  the  stage  again  with  Ma  tante  Aurore, 
in  1803,  would  not,  of  themselves,  be  suffi- 
cient to  prove  the  truth  of  the  report  ;  yet, 
on  the  other  hand,  it  is  hard  to  conceive 
how  the  position  of  professor  of  composition 
at  the  Conservatoire  should  have  been  of- 
fered to,  and  acceptecl  by  him  (about  1818) 
unless  he  had  really  gone  through  some  such 
course  of  training.  A  few  months  after 
the  success  of  Ma  tante  Aurore,  Boieldieu 
went  to  St.  Petersburg.  In  1802  he  had 
married  Clotilde  Matleuroy,  tiio  famous 
dancer,  an  ill-advised  union,  which  turned 
out  unhappily,  and  it  is  j^i'obable  that  do- 
mestic trials  may  have  had  something  to  do 
with  his  going  to  Russia.  He  accepted  au 
engagement  offered  by  the  Czar  Alexander, 
by  which  he  was  bound  to  furnish  three 
operas  a  year  (the  Czar  to  find  the  libretti), 
be.sides  writing  music  for  the  military  bands. 
But  the  libretti  were  not  forthcoming,  and 
Boieldieu  was  forced  to  take  opera  texts 
which  had  already  been  set  by  other  com- 
posers, or  else  French  comedies  not  well 
adapted  to  music.  Little  that  lie  did  dur- 
ing his  eight  years'  stay  in  Russia  has  any 


importance.  In  1811  Boieldieu  returned 
to  Paris,  where  he  found  matters  much 
changed  ;  both  Mehul  and  Cherubini  had 
withdrawn  from  public  life,  Dalayrac  was 
dead,  and  Catel  worked  but  little  ;  the  only 
rival  left  him  was  Nioolo  Isouard.  Boiel- 
dieu's first  work  after  his  return  was  Jean 
de  Paris  (1812),  which  had  a  stupendous 
success.  What  may  be  called  Boieldieu's 
third  and  finest  period  began  properly  with 
Le  Petit  chaperon  rouge  (1818),  a  work 
which  took  him  two  years  to  write.  The 
labor  this  opera  cost  him  seriously  affected 
his  health,  and  he  withdrew  to  the  country. 
With  the  exception  of  some  imimportant 
works,  written  in  conjunction  with  other 
composers,  Boieldieu  produced  nothing  for 
seven  years  after  the  Chaperon,  but  in  1825 
he  returned  to  Paris,  and  brought  out  La 
Dame  blanche,  which  has  generally  been 
considered  his  masterpiece.  The  success  of 
this  opera  was  overwhelming.  Four  years 
later  he  brought  out  Les  deux  nuits,  but 
the  work  failed  with  the  public,  although 
the  score  had  brought  a  very  high  jsrice  be- 
fore the  ojjera  was  even  put  into  rehearsal. 
The  work  of  writing  this  opera,  and  the 
chagrin  consequent  upon  its  failure,  com- 
pletely broke  down  Boieldieu's  already  deli- 
cate health  ;  laryngeal  phthisis  declared  it- 
self in  a  violent  form,  and  the  remainder  of 
his  life  was  mostly  spent  iu  travelling  in 
hope  of  recovery.  He  was  troubled  also 
with  apprehensions  about  his  future  means 
of  livelihood,  as  the  change  of  government  in 
1830  deprived  him  of  an  important  pension. 
This  was,  however,  re-given  to  him  shortly 
before  his  death,  together  with  an  additional 
pension  of  three  thousand  francs  granted  by 
the  Minister  of  the  Interior.  He  died,  on  a 
trip  for  his  health  to  the  South  of  France,  at 
his  own  country-seat  at  Jarcy.  His  funeral 
was  celebrated  at  the  Invalides  in  Paris. 
Boieldieu  was  elected  a  member  of  the  In- 
stitut  in  1817  iu  place  of  Mehul,  deceased. 
He  was  the  greatest  writer  of  opera-co- 
mique  of  his  day  ;  indeed,  Auber  was  prob- 
ably the  only  composer  who  ever  surjjassed 


S07 


BOILLY 


him  in  this  field.  His  melodic  itiventiou 
was  unbounded,  and  bis  stj-le,  especially  in 
his  second  and  third  periods,  of  the  highest 
degree  of  finish  and  perfection.  He  had  an 
especiallj^  keen  perception  of  theatrical  ef- 
fect, and  always  knew  how  to  adapt  his  mu- 
sic to  the  requirements  of  the  stage  ;  his 
orchestration  abounded  in  charming  effects  zer,  and  Isouard),  Opera  Comique,  June  18, 


jeune  femme  colere,  ib.,  Oct.  12,  1812  ; 
Les  voitures  versees,  ib.,  Aj)ril  29,  1820. 
The  following  works  were  written  by  Boiel- 
dieu  in  collaboration  with  others  :  Emma, 
ou  la  prisonniere  (with  Cherubini),  Paris, 
Theatre  Moutausier,  Sept.  12,  1799  ;  Le 
baiser  et  la  quittance  (with  Muhul,  Kreut- 


1803  ;  Bayard  a  Mt'zieres  (with  Cherubini, 
Catel,  and  Isouard),  ib.,  Feb.  12,  1814 ;  Les 
Bearnais,  ou  Henri  IV.  en  voyage  (with  R. 
Kreutzer),  ib.,  May  21,  1814  ;  Angela,  ou 
I'Atelier  de  Jean  Cousin  (with  Mme  Gail), 
ib.,  June  13,  1814  ;  Charles  de  France,  ou 
Amour  et  Gloire  (with  Herold),  ib.,  June 
18,  181G  ;  Blanche  de  Provence,  ou  la  Cour 
des  Fees  (with  Berton,  Cherubini,  Ki-eutzer, 
and  Paer),  Opera,  INIay  3,  1821  ;  Les  trois 
genres  (with  Auber),  Odeon,  April  27, 
1824  ;  Pharamoud  (with  Berton  and  Kreut- 
zer), Opera,  June  10,  1825  ;  La  Marquise 
de  Brinvilliers  (with  Auber,  Batton,  Berton, 


of  color.  He  was  little  of  a  harmonist,  but 
his  style  was  in  general  so  very  simple,  he 
was  tempted  to  modulate  from  the  principal 
key  so  rarely,  and  trusted  so  little  to  har- 
monic effects  that  his  writing  is  very  jiure 
and  free  from  faults.  He  wrote  easily,  but 
spent  much  time  and  conscientious  labor  in 
retouching.  His  only  works  of  importance 
are  his  operas  :  La  fille  coupable,  given  at 
Eouen,  Nov.  2,  1793  ;  Rosalie  et  Myrza,  ib., 
Oct.  28,  1795  ;  La  FaniUle  Suisse,  Paris, 
Theatre  Feydeau,  Feb.  12,  1797  ;  L'heu- 
reuse  nouvelle,  ib.,  Nov.  8,  1797  ;  Le  Pari, 
ou  Mombreuil  et  ]\Ierville,  Theatre  Favart, 
Dec.  15,  1797 ;  Zora'ime  et  Zulnare, 
ib..  May  11,  1798  ;  La  Dot  de  Suzette, 
ib,  Sept.  6,  1798  ;  Les  Meprises  es- 
pagnoles,  Theatre  Feydeau,  April  19, 
1799  ;  Benioivski,  Theatre  Favart,  June 
8,  1800;  Le  Calife  de  Bagdad,  ib., 
Sept.  16, 1800  ;  Ma  tante  Aurore,  Opera 
Comique,  Jan.  13,  1803  ;  Aline,  Reine 
de  Golconde,  St.  Petersburg,  March  5,  1804  ;  Blangini,  Carafa,  Cherubini,  Herold,  and 
La  jeinie  femme  colere,  ib.,  April  18,  1805  ;  PaOr),  Opera  Comique,  Oct.  31,  1831. — J. 
Amour  et  mystere,  ib.,  1806  ;  Abderkhan,  A.  Refuveille,  Boieldieu,  sa  vie  et  ses  ceu- 
ib.,  1806  ;  Tel6maque,  ib.,  Dec.  16,  1806  ;  vres  (Rouen,  1851)  ;  G.  Hequet,  Boieldieu, 
Un  tour  de  soubrette,  ib.,  1807 ;  Les  voitures  1  sa  vie  et  ses  CBUvres  (Paris,  1864) ;  A.  Pou- 
versi'es,  ib.,  1808  ;  La  dame  invisible,  ib.,  gin,  Boieldieu,  sa  vie,  ses  ceuvres,  son  ca- 
1808  ;  Rien  de  trop,  ib.,  Dec.  25,  1810  ;  Jean  ractere,  sa  correspondance  (Paris,  1875)  ; 
de  Paris,  Paris,  Opera  Comique,  April  4,  Garnier,  Institut  Royal  de  France,  Fune- 
1812  ;  Le  nouvean  seigneur  de  village,  ib.,  railles  de  M.  Boieldieu,  Discours  (Paris, 
June  29,  1813;  La  y" te  du  village  voisin,  1834) ;  J.  A.  Wash,  Proces-verbal  de  la  cere- 
ib.,  March  5,  1816  ;  Le  pe/i7  chaperon  monie  funebre  en  I'honneur  de  Boieldieia 
rouge,  ib.,   June  30,   1818  ;  La  France  et   (Rouen,  1835). 

I'Espague,  Hotel  de  Ville,  Dec.  15,  1823  ;  j  BOILLY,  EDOUARD,  born  in  Paris, 
La  (lame  blanche,  Opt'ra  Comique,  Dee.  10,  Nov.  16,  1799,  died  (?).  Dramatic  com- 
1825  ;  Les  deux  nuits,  ib..  May  20,  1829.  '  poser,  son  of  the  genre  painter  Louis 
Of  the  operas  brought  out  at  St.  Petersburg  Boilly  ;  pupil,  at  the  Conservatoire,  of  Fe- 
the  following  were  repeated  at  Paris  :  Rieu  tis  and  of  Boieldieu,  and  won  the  grand 
de  troj).  Opera  Comique,  April  9,  1811  ;  La  I  prix  for  composition,  1823.     Having  at  first 


BOISE 


studied  drawing  and  engraving,  lie  after- 
wards returned  to  the  latter  art.  Works  : 
Le  bal  du  sous-prOfet,  opera,  given  at  the 
Opera  Comique,  1844  ;  several  others,  not 
represented.  Thisbe,  cantata,  1823. —  Fe- 
tis  ;  do.,  Suppk'ment,  i.  104  ;  Mendel. 

BOISE,  OTIS  B ,  born,  of  Amer- 
ican parentage,  in  Oberlin,  Ohio,  Aug.  13, 
1845,  still  living,  1888.  When  about  four- 
teen years  old  he  became  organist  of  St. 
Paul's  Church,  Cleveland.  In  1861  he  went 
to  Europe,  and  studied  theory  and  compo- 
sition in  Leipsic  under  Hauptmann,  Richter, 
Moscheles,  Wenzel,  and  others  ;  and  three 
years  later  he  visited  Berlin,  where  he 
studied  under  KuUak.  In  1864  he  returned 
to  America  and  became  organist  of  the 
Euclid  Avenue  Presbyterian  Church,  Cleve- 
land ;  in  1870  he  removed  to  New  York, 
where  he  taught  music,  and  was  for  a  time 
organist  of  the  Fifth  Avenue  Presbyterian 
Church.  In  1876  he  again  went  to  Europe, 
and  visited  Leipsic,  where  some  of  his  mu- 
sic was  performed.  The  following  year  he 
spent  at  Wiesbaden,  where  he  made  the  ac- 
quaintance of  Raff ;  in  1878  he  returned  to 
New  York.  On  Jan.  30,  1879,  he  gave  a 
concert  in  New  York,  the  programme  con- 
sisting entirely  of  his  own  works.  His  com- 
positions consist  of  a  Psalm  for  chorus  and 
orchestra,  symphonies,  concertos,  overtures, 
and  smaller  instrumental  pieces. 

BOISMORTIER,  JOSEPH  BODIN  DE, 
born  at  Perpignan  in  1691,  died  in  Paris  in 
1765.  Dramatic  composer  of  little  merit ; 
went  early  in  life  to  Paris,  where  he  re- 
ceived his  musical  education.  Works  :  Les 
Voyages  de  I'Amour,  ballet,  given  in  Paris, 
Academic  Royale  de  Mnsique,  1736  ;  Don 
Quichotte  chez  la  Duchesse,  opera-ballet, 
ib.,  1743  ;  Daphnis  et  Chloe,  pastoral,  ib., 
1747  ;  Daphne,  ballet  (1748) ;  Two  col- 
lections of  motets  ;  6  do.  of  French 
cantatas  ;  Airs  and  vaudevilles,  op.  16  ; 
Sonatas  for  viola,  op.  10  ;  Trios  for  two 
violins  and  bass,  op.  18  ;  Sonatas  for 
violoncello,  op.  20,  50  ;  do.  for  two  bassoons, 
op.  14,  40  ;  do.  for  dute,  op.  3,  9,  19,  35, 


44 ;  Duos  for  two  ilutes,  op.  1,  2,  G,  8,  13, 
25  ;  Trios  for  tiute,  violin,  and  bass,  op.  4, 
7,  12,  37,  39,  41 ;  Concertos  for  Hute,  op. 
15,  21,  31 ;  Suites  for  two  musettes,  op.  11, 
17,  27.— Fc'tis  ;  Mendel. 

BOissELOT.  do:mixique  FR.\NgOIS 

XAVIER,  born  at  MontpelUer,  Dec.  3,  1811, 
still  living,  1888,  at  Marseilles.  Dramatic 
composer,  pupil  of  Fetis  and  of  Lesueur  at 
the  Conservatoire,  Paris,  where  he  won  the 
second  prize  for  composition  in  1834,  and 
the  first  in  1836.  After  the  death,  in  1850, 
of  his  father  (founder  of  a  great  pianoforte 
factory  at  INIarseilles),  he  abandoned  his  mu- 
sical career  to  take  charge  of  the  establish- 
njent. — W^orks  :  Ne  touchez  pas  a  la  Reine, 
opera,  given  at  the  Opera  Comique,  1847  ; 
Mosquita  la  Sorciere,  do..  Opera,  1851  ;  Vel- 
leda,  cantata,  183G  ;  Overture  for  grand  or- 
chestra, 1838  ;  Melodies  and  romances,  with 
pianoforte. — Fetis  ;  do..  Supplement,  i.  105  ; 
;  Mendel. 

BOITO,  ARRIGO,  born  at  Padua,  Italy, 
Feb.  24,  1842,  still 
living,  1888.  Dra- 
matic composer,  pu- 
pil of  Mazzucato  at 
the  Couservatorio, 
Milan,  which  he  fre- 
quented in  1853-62. 
He  first  became 
known  as  a  musical 
critic  and  a  poet, 
visited  Paris  in  1862 
and  1869,  Germany, 

and  Poland,  and  conceived  such  a  liking  for 
German  music  and  the  musico-dramatic  re- 
forms of  Wagner  that  he  is  sometimes  called 
the  Italian  Wagner.  He  is  the  author  of  the 
libretti  of  Ponchielli's  Gioconda,  and  other 
operas,  of  his   own  operas,  and  of  Verdi's 


it 


a\^ 


Otello,  and  of  other  poetical  works.    Works  : 
n   quarto  di  Giugno,   cantata  (1860)  ;   Le 


S09 


r.OKEMEYER 


Sorelle  d'  Italia,  do.  (with  Faccio,  1862) ; 
Mefislofele,  opera,  given  at  Milan,  Teatro 
della  Scala,  1868  ;  Ere  e  Leandre  (MS.)  ; 
Nerone  (MS.)  ;  Ode  (1880).— Meyer,  Con  v. 
Lex.,  xviii.;  Eiemann. 

B0KE:MEYEK,  HEINRICH,  Ijom  at  Im- 
mensee,  nearCelle,  March,  1679,  diedatWol- 
fenbiittel,  Dec.  7,  1751.  Church  comiioser, 
j)upil  of  Georg  Oesterreich  at  Brunswick  ; 
became  cantor  at  Husiim  in  1712,  and  in 
1720  at  Wolfenbiittel,  having  returned  to 
Brunswick  in  1717.  His  compositions  have 
become  extremely  rare,  and  he  is  now 
better  known  by  his  writings  on  mu.sic. — 
Allgem.  d.  Biogr.,  iii.  93;  Fetis  ;  Mendel, 
Schilling. 

BOLCK,  OSIvAR,  born  at  Hohenstein, 
East  Prussia,  March  i,  1839,  died  at  Bremen, 
May  2,  1888.  Dramatic  composer,  jjupil  of 
Paetzold  at  Konigsberg,  then  of  Moscheles, 
Hauptmann,  Kichter,  and  Rietz  at  the  Con- 
servatorium,  Leipsic.  He  held  positions  as 
music  teacher  at  various  institutions :  1861 
at  Wiborg,  Finland,  1866  in  Liverpool,  1867 
in  London,  1875  at  Riga,  returning  between 
times  to  Leijisic  in  1862,  1867,  1872,  and 
1878  ;  was  Kapellmeister  at  the  theatre  in 
Wurzburg,  1868,  and  at  Aix-la-Chapelle, 
1869,  for  several  years  chorus-master  at  the 
Stadttheater  in  Leipsic,  and  since  1886  has 
lived  in  the  same  capacity  at  Hamburg. 
Works:  Lustspiel-Ouverture  (1861) ;  Pierre 
Robin,  opera  (186-1),  given  at  Riga,  1875  ; 
Gudrun,  do.  (1865) ;  Der  Schmied  von 
Gretna  Green,  do.,  Leipsic,  1882  ;  Two  An- 
thems (London,  Novello  &  Co.)  ;  Six  songs, 
op.  5  ;  Miidchens  Gestiindnisse,  for  voice  and 
pianoforte,  op.  7  ;  Sechs  Charakterbilder, 
for  i^iauoforte,  op.  46  ;  Herbstklilnge,  five 
songs  for  baritone  or  contralto,  op.  51. — 
Mendel,  Ergilnz.,  41  ;  Riemann. 

BOIMTEMPO,  JOAO  D0:MING0S,  born 
at  Lisbon,  Portugal,  in  1775  (or  1781),  died 
there,  Aug.  13, 1842.  Piani.st,  went  in  1806 
to  Paris  to  complete  his  musical  education, 
and  lived  there,  with  the  exception  of  a 
short  sojourn  in  London,  until  1820,  when 
he  returned  to  Lisbon,  and  became  director 


of  the  Conservatorio  in  1833  ;  he  was  also 
conductor  of  the  court  orchestra  and  mu- 
sical instructor  in  the  royal  family.  Knight 
of  the  order  of  Christ.  Works  :  Two  con- 
certos for  pianoforte  with  orchestra ;  So- 
natas for  pianoforte,  op.  1,  5  (Paris,  1803)  ; 
Fantasias  and  variations  for  do.;  Requiem 
mass  in  memory  of  Camoens,  op.  23  (Paris, 
Ledue,  1819)  ;  Two  other  requiem  masses  ; 
Solemn  mass  for  the  iDroniulgation  of  the 
constitution,  Lisbon,  1821 ;  Matins  and  re- 
sponses for  the  dead  ;  Method  for  the  pi- 
anoforte (London,  1816)  ;  Alessandro  nell' 
Indie,  opera. — Fetis  ;  Vasconcellos. 

BONA,  PASQUALE,  born  at  Cerignola, 
Naples,  Nov.  3,  1816,  died  in  Milan,  Jan., 
1879.  Dramatic  composer,  pupil  of  the  Con- 
servatorio del  Buon'  Pastore,  Palermo  ;  be- 
came professor  of  harmony  at  the  Conserva- 
torio, Milan,  in  1851.  Works  :  I  Luna  e  i  Pe- 
rollo,  given  at  Milan,  Scala,  1844  ;  Don  Carlo, 
ib.,  1847  ;  R  Gladiatore,  Turin,  Teatro  Eegio; 
Vittoria,  la  madre  degli  eserciti,  Genoa,  Te- 
atro Carlo  Felice,  1863  ;  Funeral  cantata 
in  memory  of  Cavour  ;  La  Settimana  musi- 
cale,  7  duos  for  pianoforte  and  clarinet ;  La 
Collana  Verdiana,  fantasias  for  violin  and 
violoncello  ;  50  duets  without  words ;  7 
methods  for  different  voices  ;  4  collections 
of  vocalises  ;  100  daily  exercises  ;  100  sol- 
feggi.— Fetis,  Supplement,  i.  107. 

BONA,  VALERIO,  born  at  Brescia,  Lom- 
bard}-,  flourished  in  the  second  half  of  the 
16th  century  ;  was  living  in  1619.  A  Fran- 
ciscan monk  of  the  Order  of  Cordeliers,  he 
was  maestro  di  cappella  of  the  cathedral  at 
Vercelli  and  at  Moudovi,  and  maestro  of  the 
chvirch  of  San  Francisco,  Milan.  Works  : 
Motetti  a  8  voci  (Milan,  1591)  ;  Lamenta- 
zioni  (Venice,  1591) ;  Madrigali  a  cinque 
(Milan,  1600) ;  Masses  and  motets,  from 
1591  to  1611.  In  the  National  Library, 
Paris,  is  an  Introitus  Missarum,  octo  vo- 
cum,  etc.  (Antwerp,  1639).  He  was  also  a 
didactic  writer. — Ft'tis ;  Gerber,  N.  Lex.  ; 
Schilling. 

BONAMICI,  FERDI NANDO,  Italian 
composer,  contemporary.     He  is  the  author 


210 


BONAWITZ 


of  Liila  Wilson,  opera  seria,  text  by  Goli- 
sciaui,  represented  at  the  Teatro  Nuovo, 
Pisa,  Jan.  31,  1878  ;  Cleopatra,  opera  seria, 
represented  at  La  Feuioe,  Venice,  Feb.  8, 
IST'J. 

BONAWITZ,  JOHANN  HEINRICH, 
born  at  Diirkheim-ou-tbellbiue,  Dee.  4, 
1839,  still  living,  1888.  Dramatic  com- 
poser and  pianist,  pupil  of  tbe  Liege  Con- 
servatoire, lie  went  in  1852  witb  bis  pa- 
rents to  America,  wbence  be  returned  to 
Europe  in  1861  to  complete  bis  musical 
education.  In  1861-66  be  lived  at  Wies- 
baden, tbeu  in  Paris  and  London,  went  to 
New  York  in  1871,  and  tbere  conducted 
tbe  popular  symphony  concerts  in  1872-73. 
After  a  successful  concert  tour  tbrongb  tbe 
United  States,  be  lived  in  Pbiladelpbia  in 
1874-76,  tbeu  for  several  years  in  Vienna, 
wbence  be  undertook  various  concert  tours ; 
of  late,  again  in  London  (1887).  Works : 
Diogenes,  comic  opera  (1870)  ;  The  Bride 
of  Messina,  opera,  given  in  Pbiladelpbia, 
1874  ;  Ostrolenka,  do.,  ib.,  1875  ;  Irma,  do., 
London,  1885  ;  Requiem  mass,  ib.,  1881  ; 
Fantaisie  de  concert,  op.  22  ;  Sur  la  mer, 
grande  fantaisie,  op.  28  ;  Concerto  for  pi- 
anoforte witb  orchestra,  op.  36  ;  do.  for  two 
pianofortes  ;  Sonata  for  pianoforte  and 
violin.  Of).  40 ;  Quartet  for  pianoforte  and 
string  instruments. — Fetis,  Supplement,  i. 
107  ;  Mendel  ;  do.,  Ergiinz.,  42  ;  Riemann. 

BONDINERI,  mCHELE,  born  in  Flor- 
ence about  1750,  died  about  1798.  Dra- 
matic composer  and  singer  (under  the  name 
of  Neri) ;  as  a  writer  of  operas  a  local  celeb- 
rity of  Florence,  where  tbe  following  works 
were  given  :  La  serva  in  contesa,  1784  ;  II 
matrimonio  in  Cantina,  1785  ;  La  locau- 
diera,  1786  ;  Le  spose  provenzale.  La  finta 
uobile,  1787  ;  L'autunno,  II  maestro  jjer- 
seguitato,  ogni  disuguaglianza  amore  ugu- 
aglia,  1788  ;  II  veccbio  spezziale  deluso  in 
amore,   1791.— Fetis  ;  Mendel. 

BONDMAN,  THE,  English  opera  in 
three  acts,  text  by  Alfred  Bunn,  music  by 
Balfe,  represented  at  Drury  Lane  Theatre, 
London,   Dec.   11,   1846.     Subject  adapted 


from  tbe  elder  Dumas'  "Le  Chevalier  Saint- 
Georges."  The  opera,  which  was  a  success, 
was  sung  by  Miss  Romer,  Miss  Rebecca 
Isaacs,  and  Messrs.  Weiss,  Harrison,  Harley, 
and  Rafter.  It  was  produced  at  tbe  Court 
Opera,  Berlin,  in  1849,  as  Dcr  Mulatto, 
with  Frau  Koesler  and  Herr  Mauting  in  tbe 
chief  roles.— Barrett,  Balfe,  187,  204  ;  Ken- 
ney,  Memoir,  215. 

BONDUCA,  English  tragedy  in  five  acts, 
text   by  Betterton,  with   music    by  Henry 
Purcell,  represented  in  London,  1696.     The 
libretto  is  an  adaptation  of  Beaumont  and 
Fletcher's    "Bonduca"    (1616),    which    is 
founded  upon  the  story  of  Bonduca  or  Boa- 
dicea  in  Taeitus's  "Annals"  (Books  sii.  and 
xiv.).     The  music  was  composed  in  1695, 
the  last  year  of  Purcell's  life,  and  the  piece 
was  brought  out  after  bis  death.     Tbe  work 
has  some  powerful  and  pathetic  scenes,  but 
is  quite  unfit  for  tbe  modern  stage.    Edited 
by  Edward  F.  Rimbault,  and  published  by 
the  Musical   Antiquarian  Society  (Loudon, 
1 1841).— Hogarth,  i.  183. 
I      BONESI,  BENEDETTO,   born   at   Ber- 
gamo about  1750,  died  in  Paris  in   1812. 
j  Dramatic  composer   and   singer,    pupil    of 
Augusto  Cantoni  in  singing,  and  at  Milan  of 
j  Andrea  Fioroni  in  comjjosition.     He  went 
to  Paris  in  1779,  and  became  vocal  instruc- 
tor at  tbe  Comudie  Italieune.    Works  :  Pyg- 
[  malion,  duodrama,    given  at   the  Comedie 
Italienne,  1780  ;    Judith,  oratorio,  Concert 
,  Spirituel,  1781  ;  La  niagie  a  la  mode,  ojjera, 
Theatre   Beaujolais,    1782  ;  Le  rosier,  do., 
ib.,    1782 ;    Amasis,    ballet,  ib.,  1788.      He 
also  wrote  Traite  de  la  mesure,  etc.  (Paris, 
1806),  which  is  bis  best  production. — Fetis  ; 
Mendel. 

BONPICHI,  PAOLO,  born  at  Livraga, 
Lombardy,  Oct.  16,  1769,  died  at  Lodi, 
Dec.  29,  1840.  Church  composer,  showed 
early  great  talent  for  music,  and  learned  to 
play  on  tbe  pianoforte  and  tbe  organ  with- 
out a  teacher.  At  Parma,  where  he  studied 
at  tbe  university,  an  old  maestro  of  Marti- 
ni's school  taught  him  to  accompany  figured 
basses  and  to  read  scores.     At  the  age  of 


Sll 


BONHEUE 


eighteen  be  entered  the  Order  of  Servites, 
and  in  1789  went  to  Kome,  where  he  stud- 
ied counterpoint  under  Guglielmi,  and  the 
works  of  the  classic  German  and  Italian 
masters.  On  the  sup23ression  of  his  order 
in  1805  he  retired  to  Milan,  whence  in  1828 
he  was  called  to  Eome  as  maestro  di  cappella 
at  the  Santa  Casa  di  Loreto.  Works — Orato- 
rios :  La  morte  d'  Adamo  ;  La  genesi ;  La 
nuvoletta  d'  Elia  ;  E  Paradise  perduto ;  II 
passagio  del  mar  rosso  ;  Elia  sul  Carmelo ; 
Ester,  ossia  La  morte  d' Amanno  ;  I  tre  Fau- 
ciulli  nella  Fornaee  di  Babilouia  ;  La  morte 
di  Baldassare  ;  La  resurezione  ;  La  discesa 
al  limbo ;  L'  ascensioue  di  Maria ;  II  figli- 
uol  prodigo  ;  La  decolazione  di  S.  Giovanni 
Battista.  Cantatas  :  H  trionfo  di  Giuditta ; 
II  trasporto  dell'  area  ;  II  natale  di  Gesh 
Cristo  ;  La  epifania ;  La  j)entecoste ;  I  trat- 
tenimenti  di  S.  Filipino  Neri ;  L'  iuveuzione 
e  Kej)osizione  del  Corjjo  di  Sta  Cecilia ;  Cau- 
tico  di  Zacharia.  Operas  :  La  Climene,  per- 
formed at  Parma ;  Abradata  e  Dircea,  Tur- 
in, 1817  ;  Lauretta  (?),  opera  buft'a  ;  Ten 
Masses  ;  Requiem  ;  Two  Miserere  ;  Five 
Magnificat  ;  Te  Deum  ;  Stabat  Mater ;  Many 
Tantum  ergo  ;  Hj'mns ;  Psalms  ;  Versets  ; 
Many  overtures  and  other  instrumental 
pieces. — Fetis  ;  Mendel  ;  Schilling. 

BONHEUR  DE  LA  TABLE.  See  Hu- 
guenots. 

BONIFORTI,  CARLO,  bora  at  Ai-ona, 
Piedmont,  in  1818,  died  at  Trezzo  d'Adda, 
Lombardy,  Oct.  10,  1S79.  Dramatic  com- 
poser, pupil  at  jNIilan  of  Bouazzi,  whom  he 
succeeded  in  1811  as  organist  at  the  cathe- 
dral, and  royal  maestro  di  cai^jsella,  retain- 
ing afterwards  only  the  latter  position.  In 
1852  he  became  professor  of  harmony  and 
counterpoint  at  the  Conservatorio.  Mem- 
ber of  Accademia  di  Santa  Cecilia,  Rome. 
"Works :  Velleda,  opera,  given  at  Milan, 
Scala,  1817  ;  Giovauua  di  Fiandra,  ib., 
1818  ;  Overture  for  grand  orchestra  ;  Many 
religious  compositions,  with  organ  or  or- 
chestra.— Fetis,  Supplement,  i.  107. 

BONrV'ENTI,  GIUSEPPE,  born  at  Yen- 
ice,  flourished  about  the  end  of  the  17th 


and  during  the  first  half  of  the  18tli  cen- 
tury. Dramatic  composer,  author  of  the 
following  operas  :  II  gran  Macedone,  given 
in  Rome,  1690  ;  Almerinda,  1691  ;  Almira, 
1691 ;  La  vittoria  nella  Costanza,  Venice, 
Teatro  Sant'  Angiolo,  1702 ;  Endimione, 
Naples,  1702 ;  Armida  al  caiupo,  Venice, 
1707;  Circe  delusa,  Italy,  1711;  La  Virtii 
fra  iNemici,  Venice,  Teatro  San  Mose,  1718; 
Ariana  abbandonata,  Venice,  1719  ;  L'  In- 
ganno  fortunato,  ib.,  1721  ;  II  Vinceslao, 
Turin,  1721  ;  Pertarido,  re  de'  Longobardi, 
Venice,  1727. — Fetis. 

BONMARCHE,  JEAN,  born  at  Ypres  (or 
Valenciennes?)  about  1520.  Church  com- 
poser, became  canon  and  choirmaster  at 
Cambrai,  and  in  1565  maestro  de  capilla  to 
Philip  n.  of  Spain  (at  Brussels  ?).  In  his 
old  age  he  seems  to  have  retired  to  Valen- 
ciennes. His  masses  and  motets  (MS.)  are 
in  the  library  of  the  Escurial. — Biog.  nat.  de 
Belgique,  ii.  685  ;  Fetis. 

BONNAY,  FRANgOIS,  flourished  in 
Paris  about  1780-1800.  Dramatic  com- 
poser, and  violinist  in  the  orchestra  of  the 
Opera  in  Paris  about  1787.  Member  of 
the  Academie  Roj'ale  de  Musique.  Works: 
Colin  et  Colette,  given  in  Paris,  Theatre  de 
Beaujolais,  1786  ;  Les  deux  jaloux,  Les  cu- 
rieux  punis,  La  fete  de  I'arquebuse,  ib., 
1787  ;  Les  amants  ridicules,  ib.,  1790. 

BONNET,  JEAN  BAPTISTE,  bom  at 
Montauban  (Taru-et-Garoune),  April  23, 
1763,  time  of  death  not  known.  Violinist, 
pupil  of  Giornovicqhi  and  of  Mestrino  ;  was 
first  violin  in  the  theatre  orchestras  at  Brest 
and  Nantes,  and  in  1802  retired  to  his  na- 
tive city,  where  he  was  made  organist  of 
the  cathedral.  Works  :  8  concertos  for 
violin  ;  10  sj-mphonies  concertantes  for  two 
violins  ;  30  duos  for  do.,  op.  1,  3,  6,  9,  and 
10  ;  6  quartets  for  strings  ;  6  trios  for  do.; 
12-  divertissements  for  grand  orchestra. 
—Fetis. 

BONO  (Bonno),  GIUSEPPE,  born  in  Vi- 
enna in  1710,  died  there,  April  15,  1788. 
Dramatic  composer.  The  son  of  one  of  the 
I  imperial  footmen,  he  was  sent  to  Naples  to 


aia 


BONOLDI 


study  compositiou,  was  taken  into  the  Im- 
perial Hofkapelle  as  Hofscholar  in  1738, 
and  rose  to  be  Hofcorapositeur  iu  1739, 
and  Hofkapellmeister  in  1774.  For  many 
years  he  was  vice-president  of  the  Ton- 
kiintsler-Societat,  Vienna,  and  his  scores 
are  preserved  iu  the  Imperial  Library  and 
the  jMusik-Verein.  Works— Operas:  Natale 
di  Giove,  given  at  Venice,  1740  ;  Danae,  Vi- 
enna, 1744 ;  Ezio,  ib.,  1740  ;  H  vero  omag- 
gio,  ib.,  1750 ;  L'  eroe  cinese,  L'  isola  di- 
sabilitata,  ib.,  1752  ;  II  re  pastore,  Milan, 
1753  ;  Atenaide,  Vienna,  1762.  Oratorios : 
Isacco,  San  Paolo  in  Atene. — Fetis  ;  Men- 
del ;  Schilling. 

BONOLDI,  FEANCESCO,  died  at  Mon- 
za,  near  Milan,  March  24,  1873.  Instru- 
mental compo.ser,  son  of  the  tenor  singer 
Claudio  Bonoldi ;  pupil  of  the  Couserva- 
torio,  Milan.  Works  ;  Symphonies  and 
overtures  for  orchestra  ;  Pot-pourris  on  op- 
eratic themes,  for  pianoforte ;  Variations 
and  valses  for  do. ;  An  opera,  H  Mauro,  was 
given  at  Trieste,  1833. — Fotis. 

BONONCINI  (Buononcini),  GIOVANNI 
BATTISTA,  born  at 
Modena  in  IGGO,  died 
probably  in  Venice 
in  or  after  17  5  0. 
Dramatic  composer 
and  violoncellist,  son 
and  pupil  of  Giovanni 
Maria  Bononciui, 
then  at  Bologna  pu- 
pil of  Paolo  Colonna.  He  went  about  1091 
to  Vienna,  where  he  was  made  violoncellist 
to  the  emperor,  and  brought  out  an  opera 
with  extraordinary  success,  which,  however, 
was  afterwards  proved  to  be  the  work  of  his 
brother  j\Iarco  Antonio.  Called  to  Kome 
in  1094,  he  returned  to  Vienna  in  1699, 
and  again  iu  1706,  having  spent  two  years 
(1703-5)  in  Berlin  as  court  composer  to 
Queen  Sophie  Charlotte.  The  years  1706- 
20  were  divided  between  Vienna  and  Italy. 
While  iu  Eome,  in  1716,  he  was  invited  to 
London,  where  soon  a  great  rivalry  sprang 
up  between  him  and  Handel  and,  through 


p^ 


the  patronage  of  the  former  by  the  Duchess 
of  Marlborough,  and  of  the   latter  by  the 
court,  assumed  an  almost  political  character. 
The  strife  ended  with  the  defeat  of  Bonon- 
cini  owing  to  the  discovery,  iu  1731,  of  his 
plagiarism  of  a  madrigal  by  Antonio  Lotti. 
His  prospects  being  thus  impaired,  he  was 
enticed  iu  1733  by  an  alchemist  adventurer 
to  go  to  Paris,  where  he  lost  his  entire  fort- 
une and  was  obliged  again  to  resort  to  his 
art.     Iu  1748  he  was  recalled  to  Vienna  to 
compose  the  music  for  the  festivities  after 
the  peace  of  Aix-la-Chapelle.    Soon  after  he 
went  to  Venice,  where  he  composed  for  the 
theatre  and  was  still  active  at  the  age  of 
ninety.       Works — Operas:    Tullo   Ostilio, 
Serse,  given  in  Home,  1694  ;  La  Fede  pub- 
blica,  Vienna,  1699  ;  Aftetti  pin  graudi  vinti 
dal    piti    giusto,    1701  ;    PoUfemo,    Berlin, 
1703  ;    Eudimione,    Vienna,    1706  ;    Mario 
fugitive,  Tamiride,  ib.,  1708  ;  Abdalomino, 
ib.,  1709  ;  Muzio  Scevola,  ib.,  1710  ;  Astarte, 
London,  1720  ;  Crispo,  Grmlda,  ib.,  1722  ; 
Farnace,  Erminia,  ib.,  1723  ;  Calpurnia,  ib., 
1724  ;  Alessandro  in  Sidoue,  Vienna,  1737. 
Symphonies  for  5,  6,  7,  and  8  instruments, 
op.  2  (Bologna,   1685)  ;   do.   for  3  instru- 
ments with  organ,  op.  3  (ib.,  1686) ;  do.  for 
several   instruments,  op.  5  ;  do.  for  violin 
and  violoncello,  op.  G  (ib.,  1687)  ;  Mass  for 
eight  voices,  op.  7  ;  do.,  op.  8  (ib.,  1688)  ; 
Duetti  da  camera,  op.  9  (ib.,  1691) ;  Cantate 
e  duetti  (London,  1721) ;  Funeral  Anthem 
for  the  Duke  of  Marlborough  (ib.,  1722)  ; 
Divertimenti  di  camera  (ib.,  1722)  ;  12  so- 
natas or  chamber  airs  for  two  violins  and 
bass  (ib.,  1732) ;  II  Giosue,  oratorio.— Fetis ; 
Gerber,  N.  Lex. ;  Hawkins,  v.  274  ;  Mendel ; 
Schilling  ;  Grove,  i.  649  ;  Hogarth,  ii.  19. 

BONONCINI,  GIOVANNI  IMARIA,  born 
at  Modena  in  1G40,  died  there,  Nov.  19, 
1678.  Instrumental  and  vocal  composer, 
studied  in  Bologna,  and  at  an  early  age  en- 
tered the  service  of  the  Duke  of  Modena, 
and  became  maestro  di  cappella  of  S.  Gio- 
vanni in  Monte.  Member  of  the  Accademia 
Filarmonica  of  Bologna.  Works  :  Primi 
frutti  del  giardino  musicale,  for  2  violins 


213 


EOXONCINI 


(Venice,  Magni,  1666) ;  Vaij  fiori,  etc.,  so- 
natas for  2,  3,  and  i  instruments,  op.  3  (Bo- 
logna, 1669)  ;  Arie,  Correnti,  Sarabande, 
etc.,  for  2  violins  and  double-bass,  op.  4 
(ib.,  Monti,  1674) ;  Siufouie,  Allemaude, 
etc.,  for  5  parts,  op.  5  (ilj.,  1671)  ;  Sonatas 
for  2  violins  with  organ,  op.  6  (ib.,  1077)  ; 
Ariette,  correnti,  gighe,  etc.,  for  violin  solo 
and  2  violins,  op.  7  (ib.,  1677) ;  Musico  pra- 
tico,  op.  8  (ib.,  1673) ;  Trattenimenti  musi- 
cali,  for  3  or  4  instruments,  op.  9  (ib., 
1675)  ;  Cantata  a  voce  sola,  op.  10  (ib., 
1677)  ;  Partitura  de'  madrigali  a  cinque 
voci,  etc.,  op.   11  (1678)  ;  Arie  correnti,  for 

three  instruments,  op.  12  (ib.,  1678) ;  Libro 
secondo  delle  cantate,  op.  13  (ib.,  1678). 
— FOtis  ;  Gerber,  N.  Lex. ;  Mendel. 

BONONCINI,  MARCO  ANTONIO,  born 
at  Modena  about  1675,  died  there,  July  8, 
1726.  Dramatic  composer,  brother  of  Gio- 
vanni Battista,  with  whom  he  is  said  to  have 
been  in  Vienna  and  Berlin,  and  who  seems 
to  have  availed  himself  of  Antonio's  superior 
talent  in  the  composition  of  his  operas.  It 
is  certain  only  that  he  was  in  Rome  in  1714 
and  was  made  maestro  di  cappella  to  the 
Duke  of  Modena  in  1721.  Padre  Martini 
praises  his  elevated  style,  and  places  him 
above  all  his  contemporaries.  Works — Op- 
eras :  Camilla,  regina  de'  Volsci,  given  in 
Vienna,  1692  ;  Griselda,  Italy,  about  1700  ; 
Andromeda  ;  Arminio  ;  Sesostri  ;  Turno 
Ai'icino,  Florence,  1704  ;  Etearco,  Vienna, 
1707  ;  La  regina  creduta  re,  Venice,  1707  ; 
Tigrane,  re  d'  Armenia,  Cajo  Gracco,  ib., 
1710  ;  Astianatte,  ib.,  1718  ;  La  decoUazione 
di  S.  Giovanni  Battista,  oratorio,  Vienna, 
1709  ;  Christinas  cantata. — Ft'tis  ;  Gerber, 
N.  Lex,  ;  Scliilling. 

BONPORTI,  FRANCESCO  ANTONIO, 
born  at  Trent,  Tyrol,  about  1660,  died  (?). 
Instrumental  composer.  He  was  Aulic 
Counsellor  to  the  Emperor  of  Austria,  and 
gave  much  time  to  the  study  of  music. 


Works  :  Sonatas  for  two  violins  and  bass 
(Venice,  1696)  ;  Le  triomphe  de  la  Grande 
Alliance,  op.  8  ;  One  hundred  minuets  for 
violins  and  bass  ;  Dodici  Concertini  e  Se- 
renate,  etc.  (Augsburg,  1741)  ;  and  many 
motets  and  sonatas. — Fetis  ;  Gerber. 

BONTEMPI,  GIOVANNI  ANDREA,  sur- 
named  Angelini,  born  at  Perugia  about 
1630,  died  there  after  1697.  Singer,  dra- 
matic composer,  and  didactic  writer,  pupil 
of  Virgilio  Mazzocchi.  He  was  maestro  di 
cappella  of  a  church  in  Rome,  then  in  Ven- 
ice, and  entered  the  service  of  Margrave 
Christian  Ernst  of  Brandenburg  at  Berlin, 
exchanging  his  jjosition  in  1660  for  a  more 
influential  one  at  the  court  of  Elector  Jo- 
bann  Georg  U.  of  Saxony,  at  Dresden.  In 
1694  he  returned  to  Perugia.  Works  :  Pa- 
ride,  opera,  given  in  Berlin  (published  in 
Dresden,  1662)  ;  Martirio  di  S.  Emiliano, 
oratorio. — Fetis  ;  Gerber,  N.  Lex.;  Mendel ; 
Schilling. 

BOOM,  JOHANNES  VAN,  born  at 
Utrecht,  Oct.  15,  1807,  died  at  Stockholm 
in  April,  1872.  Pianist,  son  and  pupil  of 
Johannes  E.  G.  Van  Boom,  an  eminent  flut- 
ist (born,  1783) ;  made  a  concert  tour  to  Den- 
mark and  Sweden  about  1825,  and  was  in- 
duced to  settle  at  Stockholm,  where  he 
became  member  of  the  Academy  in  1844, 
and  professor  iu  1848.  In  1862  he  visited 
the  principal  cities  of  Europe  to  study  the 
system  of  musical  instruction.  He  com- 
posed operas,  symjihouies,  overtures,  quar- 
tets, trios,  and  many  works  for  pianoforte. 
—Mendel ;  Viotta. 

BOOTH,  KARL  EDMUND  OTTO  VON, 
born  at  Weinheini,  Baden,  March  13,  1842, 
still  living,  1888.  Violinist,  organist,  and 
pianist,  pupil  of  the  Conservatorium  at 
Carlsruhe,  studied  the  violin  under  Con- 
zertmeister  Will,  comijosition  under  Mo- 
lique,  and  the  organ  under  Dr.  Steggall. 
He  made  his  debut  as  a  violinist  at  Birming- 
ham in  1853,  and  settled  in  London  in  1856. 
Organist  at  St.  Mutthew's,  Bayswater,  in 
1868-75.  Works  :  Symphony  in  C  minor  ; 
Prizes   and   Blanks,   operetta  ;    A   cantata ; 


ai4 


BOOTT 


Godiva,  overture  for  orchestra  ;  JMarclie 
funebre  for  do. ;  Te  Deuin  in  D  ;  Anthems 
and  church  services  ;  Sonata  quasi-fantasia, 
for  organ  ;  Offertories  for  do. ;  Quartets  and 
quintets  for  stringed  instruments  ;  Victoria 
March  for  orchestra  ;  Sonata  in  A  minor, 
for  viohn  and  pianoforte  ;  do.  in  D  ;  Ro- 
mance in  F,  for  do.  ;  Ten  easy  pieces  for 
do.;  Wanderlieder,  sketches  for  pianoforte; 
Gavotte  and  Bourn'e  for  do.  ;  Songs,  etc. 

BOOTT,  FRANCIS,  born,  of  English  par- 
entage, in  Boston,  Massachusetts,  June  24, 
1813,  still  living,  1888.  He  studied  har- 
mony under  Luigi  Picchianti,  in  Florence, 
Italy,  where  he  has  passed  much  of  his  life, 
and  where  he  is  honorary  professor  in  the 
Academy  of  Fine  Arts.  Works :  Mass,  for 
soli,  chorus,  and  orchestra  ;  Song  of  Zecha- 
riah,  do.;  Te  Deum,  do.;  Memento  Rerum, 
hymn  for  eight  parts  ;  Miserere,  for  chorus 
a  cappella  ;  Several  string  quartets.  Songs  : 
Aftermath  (Longfellow)  ;  Ave  Maria  ;  Break, 
Break  (Tennyson)  ;  Kyrie  Eleison  (Longfel- 
low) ;  Laus  Deo  (Whittier)  ;  Rose  upon  the 
Balcony  (Thackeray)  ;  Sands  of  Dee  ;  We 
Two  (Ingelow)  ;  The  Sea  hath  its  Pearls 
(Heine)  ;  Brooklet  (Longfellow),  duet ;  Riv- 
ulet (Tennyson),  duet ;  The  Clover  Blossoms, 
duet ;  Maria  Mater,  cpiartet,  etc.  His  first 
compositions  were  published  under  the 
pseudonym  of  Telford. 

BORDE.     See  Laborde. 

BORDESE,  LITIGI,  born  at  Naples,  Italy, 
in  1815,  died  in  Paris,  Feb.  17,  1880.  Dra- 
matic composer,  jjupil  of  the  Conservatorio 
at  Najjles  ;  went  in  1834  to  Turin  to  bring 
out  an  opera  which  he  had  been  commis- 
sioned to  write,  and  thence  to  Paris,  where, 
after  repeated  failures  of  his  dramatic  ef- 
forts, he  devoted  himself  to  the  teachinir 
and  composition  of  vocal  music.  Works — 
Operas  :  Zelimo  e  Zoraide,  given  in  Turin, 
1834  ;  La  Mantille,  Paris,  Opera  Comique, 
1837  ;  L'automate  de  Vaucauson,  Jeanne 
de  Naples  (with  Monpou),  ib.,  1840  ;  I 
Quindici,  Naples,  Teatro  San  Carlo,  1842  ; 
Le  Sultan  Saladin,  Paris,  Opera  Comique, 
1847  ;   Les  deux  bambins,    ib.,    1848  ;   La 


Fioraia  (18fi7)  ;  Three  masses;  A  requiem; 
Motets  ;  Several  vocal  methods,  and  series 
of  solfeggi,  and  hundreds  of  sacred  and  sec- 
ular songs  for  single  and  concerted  voices. 
— Fetis ;  do..  Supplement,  i.  109. 

BORETTI,  GIOVANNI  ANDREA,  born 
in  Rome  about  1(340.  Dramatic  composer, 
maestro  di  capj)ella  at  the  court  of  Parma. 
Works  :  Zenobia,  given  in  Venice,  Teatro 
di  San  Cassiano,  IGGG  ;  Alessandro  aniante, 
1667  ;  Eliogabalo,  Naples,  1668  ;  Marcello 
in  Siraeusa,  Venice,  1670,  Bologna,  1672  ; 
Ercole  in  Tebe,  Rome,  1671 ;  Dario  in  Babi- 
lonia,  Parma,  1671  ;  Claudio  Cesare,  1672  ; 
Domiziano,  1673. — Fctis. 

BORG.VTTA,  EMANUELE,  born  at 
Genoa  about  1810,  still  living,  1888?  Pi- 
anist, made  himself  known  by  concerts  given 
in  his  native  city  in  1832,  and  in  Milan,  1833. 
Works  :  II  Quadromaniaco,  opera,  given  at 
Genoa,  183.5  ;  Francesca  da  Rimini,  do.,  ib., 
1837  ;  Sonata  for  pianoforte  ;  Cadence  ca- 
pricieuse  for  do.  ;  Variations  on  operatic 
themes  for  do. ;  Italian  romances. — Fetis. 

BORGHESE,  ANTONIO,  born  in  Rome 
in  the  second  half  of  tlie  18tli  century.  Dra- 
matic composer,  w-ent  to  Paris  about  1777. 
Works  :  La  Bazoehe,  opera,  given  in  Paris, 
Theatre  Beaujolais,  1787  ;  Der  unvermuthete 
gliickliche  Augenblick,  ojieretta,  given  in 
Germany  ;  Sonatas  for  pianoforte,  with  vio- 
lin obligato,  op.  2  (Paris,  1780).  He  pub- 
lished also  L'art  musical,  etc.  (ib.,  1786) ; 
Traitii  de  composition  (ib.,  1788). — Fetis. 

BORGHI,  GIOVANNI  BATTISTA,  born 
at  Orvieto,  Umbria,  about  1740,  last  heard 
of  in  1800.  Dramatic  composer,  maestro 
di  cappella  of  the  Cliiesa  della  Santa  Casa 
at  Loreto  in  1770.  He  went  to  Vienna  in 
1797,  thence  to  Russia,  and  returned  to 
Italy  in  1800.  Works — Operas  :  Alessandro 
in  Armenia  (1768)  ;  Merope,  given  in  Rome, 
1768  ;  Giro  riconosciuto,  given  in  Venice, 
1771 ;  Ricimero  (1773) ;  La  Donna  instabile, 
Rome,  1776  ;  Artaserse,  Venice,  1776  ;  Eu- 
niene,  Turin,  1778  ;  Pirarao  e  Tisbe,  Flor- 
ence, 1783;  L'  Olimpiade,  ib.,  1785;  La 
Morte  di  Semiramide,  Milan,  1791 ;  EgiUna, 


EOUGill 


ib.,  1793;  Semiramis,  Vienna,  1798;  II  j 
Tempio  di  Guido  ;  Two  masses  for  four  i 
voices  and  orchestra  ;  A  Dixit  for  four 
voices  ;  Laudate  for  five  voices  ;  Domine  for 
five  voices  ;  Lamentazione  per  il  Giovedi 
Sauto  for  bass  voice  and  orchestra  ;  Two 
litanies  for  four  voices,  and  one  for  two 
choirs  and  orchestra. — Petis  ;  do.,  Supjjle- 
ment,  i.  110  ;  Mendel ;  Schilling. 

BOEGHI,  LUIGI,  flourished  in  the  18th 
centuiy,  time  of  birth  and  death  unknown. 
Violinist,  pupil  of  Pugnani.  He  lived  from 
about  1780  in  London,  where  he  was  a  lead- 
er of  the  second  violins  at  the  Handel  Com- 
memoration in  1784.  He  jsublished  music 
for  his  instrument  in  London,  Berlin,  Paris, 
and  Amsterdam.  "Works  :  6  sonatas  for  vio- 
lin and  bass,  op.  2  ;  G  solos  for  violin,  op.  3  ; 
6  duos  for  two  violins,  op.  4 ;  6  duos  for 
violin  and  violoncello,  op.  7  ;  6  symphonies 
for  full  and  small  orchestra  ;  Italian  canzo- 
nets, etc. — Fetis  ;  Grove  ;  Mendel ;  Schilling. 
BOKIS  GODUNOW,  Russian  opera,  mu- 
sic by  Mussorgski,  represented  at  the  Marie 
Theatre,  St.  Petersburg,  1872.  It  is  one  of 
the  most  popular  works  in  the  Eussian  rep- 
ertorv. 

BOKODESr,  ALEXANDER,  born  at  St. 
Petersburg,  Nov.  12, 
1834,  died  Feb.  22, 
1887.  Amateur  in- 
strumental composer, 
studied  medicine  and 
c  h  e  m  i  s  t  r  J'  at  the 
Academy,  whei-e  he 
became  professor. 
He  was  one  of  the 
chief  representatives 
of  the  young  Russian 
school  in  music,  and  president  of  the  Society 
of  Music  Lovers  at  St.  Petersburg.  Works : 
Middle  Asia,  symphonic  poem  ;  2  sj'mpho- 
nies  ;  String  quartets  ;  Pianoforte  music  ; 
Prince  Igor,  opera  (MS.). — Riemanu. 

BORONI  (Buroni),  ANTONIO,  born  in 
Rome  in  1738,  died  there  in  1797.  Dra- 
matic composer,  pupil  of  Padre  Martini  at 
Bologna,  and  of  Abos  at  the  Conservatorio 


della  Piet;"i,  Naples.  He  brought  out  some 
of  his  first  operas  at  Venice  in  1762,  visited 
Prague  in  1764,  became  miisical  director 
and  composer  of  the  theatre  at  Dresden  in 
1765,  and  Hof-Kapiellmeister  to  the  Duke 
of  Wiirtemberg  at  Stuttgart  in  1770.  He 
returned  to  Italy  in  1780,  and  became  maes- 
tro di  cappella  at  St.  Peter's,  Rome,  in  1785. 
"Works — Operas  :  L'  Amore  in  musica,  La 
notte  critica,  given  in  Venice,  about  1760  ; 
Alessandro  in  Armenia,  ib.,  1762  ;  Sofonisba, 
Le  villegiatrici  ridicole,  ib.,  1764  ;  Siroe, 
re  di  Persia,  Prague,  1764  ;  La  moda,  II 
Carnevale,  Le  orfane  suizzere,  Dresden, 
1769  ;  Ricimero,  Stuttgart,  1773  ;  La  donna 
instabile,  Artaserse,  ib.,  1776  ;  Eomene,  ib., 
1778.  He  wrote  also  motets  and  symjjho- 
uies  and  much  church  music. — Fetis  ;  Men- 
del ;  Gerber  ;  Schilling. 

BORREMANS,  JOSEPH,  bom  at  Brus- 
sels, Nov.  25,  1775,  died  at  Uccle-les-Bru- 
xelles,  Dec.  15, 1858.  Organist  and  dramatic 
composer';  maitre  de  ehapelle  in  his  native 
city  at  Sainte-Gudule,  organist  of  Saint- 
Nicolas,  and  second  chef  d'orchestre  at  the 
Theatre  de  la  Mounaie,  where  he  brought 
out  the  following  works  :  De  Klapperman, 
ou  Le  crieur  de  uuit  d'Amsterdam,  comic 
opera,  1804 ;  La  femme  imj)romptue,  opi'ra- 
bouffe,  1808  ;  L'ofl'rande  a  I'Hymen,  lyric 
scene,  1816.  He  has  left  also  masses,  Te 
Deum,  motets,  etc.,  with  orchestral  accom- 
paniment.— Fetis,  Supplement,  i.  111. 

BORRONI,  ANTONIO,  Italian  church 
composer,  flourished  about  the  middle  of 
the  17th  century.  He  was  among  the  first 
to  substitute  for  the  severe  stilo  osservato 
of  Palestriua  a  freer  style  of  composition. 
His  masses  and  motets  remain  in  manu- 
script.— Fetis ;  Mendel. 

BORSARO  (Borsari),  ARCHANGELO, 
born  at  Reggio  about  1570.  Church  com- 
2)oser  and  Franciscan  friar,  about  whose  life 
nothing  is  known.  "Works  :  Magnificat  su- 
per omnes  tonos  (Venice,  1591) ;  7  books  of 
concerti  ecclesiastici  (ib.,  1593-1606)  ;  Ves- 
pertina  psalmodia  (ib.,  1602)  ;  Novo  giar- 
dino  di  concerti,  op.  11  (ib.,  1611) ;  Secondo 


216 


P.OKTNIANSKY 


libro  degl'  odoranti  fiori,  op.  13  (ib.,  1615) ; 
Aftectibus  pietosis,  G  books  of  motets  (ib., 
1G15)  ;  Cauzonette  si3iritiiali  (ib.,  1616)  ; 
Diversoi'um  concejjtuum  luusicalium,  3 
books  of  miscellaneous  cburcli  music  (161G- 
18).— Fetis. 
BOETNIANSKY.  See  Bartmiud'n. 
BORTOLAZZI,  BARTOLOMEO,  born  in 
Venice  in  1773,  died  in  Vienna  (?).  Man- 
dolin and  guitar  jjlayer,  went  to  Germany 
in  1803,  and  gave  concerts  at  Dresden, 
Leipsic,  Brunswick,  Berlin,  and  settled  in 
Vienna.  Works :  Variations,  rondos,  fan- 
tasias, for  guitar  solo,  or  with  violin,  piano- 
forte, and  mandolin  ;  6  variations  for  man- 
dolin or  violin  and  guitar,  op.  8  ;  Sonata 
for  pianoforte  and  mandolin  or  violin,  op. 
9  ;  6  themes  vaiies  for  mandolin  or  violin 
and  guitar,  op.  10  ;  6  variations  for  guitar 
and  violin  obligato,  op.  13  ;  Sonata  for  gui- 
tar and  pianoforte  ;  2  collections  of  Italian 
and  German  songs ;  6  French  romances, 
op.  20.— Fetis  ;  Schilling. 

BORZIO,  CARLO,  Italian  dramatic  and 
church  composer,  maestro  di  cajipella  at 
Lodi  towards  the  end  of  the  17th  centur^y. 
Works  :  Narciso,  opera,  given  at  Lodi,  1676  ; 
Pastorale,  Bologna,  1691 ;  Much  church  mu- 
sic.— Fetis. 

BOSCAJUOLO,  IL.  See  I'Ame  en  peine. 
BOSI  (Bossi),  born  at  Ferrara  in  1773, 
died  in  London  in  September,  1802.  Dra- 
matic composer,  brought  out  some  operas 
in  Italy,  but  went  to  London  about  1792, 
and  composed  chiefly  ballet  music,  such  as : 
Little  Peggy's  Love,  L'Amant  Statue,  1797  ; 
Acis  and  Galatea.  He  published  also  so- 
natas and  other  music  for  jiianoforte. — Fe- 
tis ;  Mendel. 

BOSSELET,  CHARLES,  born  at  Lyons, 
July  27, 1812,  died  at  Saint-Josse-ten-Noode- 
les-Bruxelles,  April  2,  1873.  Dramatic  and 
church  composer,  pupil  of  Fetis  at  the  Con- 
servatoire, Brussels,  where  he  won  the  first 
prize  for  composition  in  1836,  and  became 
professor  of  harmony  in  1840.  He  was  also 
second  chef  d'orehestre  at  the  Royal  Theatre 
from  1835.     Works  :  Ballets,  given  at  the 


Theatre  de  la  Monnaie,  Brussels  :  Les  Dry- 
ades  ;  Arlecjuiu  et  Pierrot ;  Terpsychore  sur 
terre  ;  Masses,  motets  ;  Four-part  songs  for 
male  voices. — Fetis  ;  do.,  Supplement,  i. 
113  ;  Mendel. 

BOTT,  JEAN  JOSEPH,  born  at  Cassel, 
March  9,  1826,  still  living,  1888,  at  Ham- 
burg. Violinist,  sou  of  and  first  instructed 
by  the  court  musician  Anton  Bott  (1795- 
1869),  then  pupil  of  Spohr  on  the  violin, 
and  of  Moritz  Hauptmann  in  theory.  He 
made  a  successful  concert  tour  through 
North  Germany,  and  became  solo  violinist 
of  the  Electoral  Orchestra  in  1846,  Con- 
zertmeister  in  1846,  and  assistant  Kapell- 
meister in  1851.  In  1856  he  went  as 
Hof-Kapellmeister  to  Meiningen,  and  in 
1865  to  Hanover,  where  he  was  jjensioned 
in  1878.  He  then  taught  nuisic  for  several 
years  at  Magdeburg,  and  in  1884  settled  at 
Hamburg,  whence  he  visited  America  in 
1885.  Works  :  Der  imbekannte,  opera, 
given  at  Cassel,  1854  ;  Actiia,  das  Miidcheu 
von  Corinth,  do.,  Berlin,  1862  ;  Sympho- 
nies ;  Overtures ;  Concertos  for  violin  ;  Soli 
for  do.;  Pianoforte  music  and  songs. — Fe- 
tis ;  Mendel ;  Riemanu. 

BOTTE,  ADOLPHE  ACHILLE,  born  at 
Pavilly  (Seine-Inferieure),  Sept.  29,  1823, 
still  living,  1888.  Pianist,  pupil  at  the 
Conservatoire,  Paris,  of  Ziminermann  on 
the  pianoforte,  of  Savard  and  Leborne  in 
harmony,  counterpoint,  and  fugue  ;  in  1842 
he  settled  at  Rouen,  and  in  1854  in  Paris, 
where  he  devoted  himself  to  his  profession 
and  to  musical  criticism.  In  1864  he  be- 
came professor  at  the  Convent  des  Oiseaux. 
Works  :  Jocelyn,  overture  for  grand  orches- 
tra ;  Le  corsaii'e,  do.  ;  Album  do  chant 
(1846) ;  Album  for  pianoforte  ;  Souvenir  de 
I'ange  gardien,  six  etudes  de  stylo  (1850)  ; 
2  new  albums  (1855, 1857)  ;  7  characteristic 
pieces  for  pianoforte,  etc. — Fetis,  Sup^jlO- 
ment,  i.  113. 

BOTTESmi,  GIOVANNI,  born  at  Cre- 
ma,  Lombardy,  Dec.  24,  1823,  still  living, 
1888.  Dramatic  composer  and  vii'tuoso  on 
the    double-bass ;   pupil    of   the   Conserva- 


BOTTOM  LEY 


~.  <■■ 


torio,  Milan.  He  studied  the  double-bass 
under  Rossi,  and  counterpoint  and  har- 
mony under  Fran- 
cesco Basili  and  Vac- 
caj.  After  a  concert 
tour  in  Italy  from 
1840  to  18i6,  he  be- 
came conductor  of 
the  orchestra  in  the 
theatre  at  Havana. 
Since  then  he  has 
made  various  jour- 
neys to  America,  vis- 
iting the  United 
States  and  Mexico  and  the  northern  portions 
of  South  America.  In  1855  he  became  chef 
d'orchestre  at  the  Italiens,  Paris.  In  1857- 
58  he  travelled  through  Germany,  Holland, 
Belgium,  France,  and  England  on  a  concert 
tour,  in  1861  was  maestro  di  capjsella  of  the 
Teatro  Bellini  at  Palermo,  in  1863  at  Barce- 
lona, then  founded  in  Florence  the  Societa 
di  Quartetto  for  the  cultivation  of  German 
classical  music,  and  subsequently  divided 
his  time  between  Florence  and  London, 
whither  he  went  last  in  1871  as  director  of 
an  opera  troupe  at  the  Lyceum,  but  returned 
again  to  Italy.  "Works  —  Operas  :  Cristoforo 
Colombo,  given  at  Havana,  1847  ;  L'  Assedio 
di  Firenze,  Paris,  Theatre  Italien,  1856  ;  II 
Diavolo  della  notte,  oijera  buifa,  Milan, 
Teatro  di  Santa  Radegonda,  1859  ;  Marion 
Delorme,  Palermo,  1862  ;  Vinciguerra,  op- 
eretta, Paris,  Theatre  du  Palais  Royal,  1870  ; 
Ali  Baba,  comic  opera,  London,  1871  ;  Ero 
6  Leandro,  Turin,  1879 ;  La  Regina  del 
NeiDal,  ib.,  1880;  Symphonies;  Overtures; 
Quartets  ;  INIany  comf)ositions  for  double- 
bass  ;  Songs. — Fe'tis  ;  Mendel ;  Riemann. 

B0TT05ILEY,  JOSEPH,  born  at  Hali- 
fax, Yorkshire,  in  1786,  died  (?).  Organist 
and  pianist,  pupil  of  Grirashaw  at  Manches- 
ter, of  Watts  and  Yaniewicz,  in  Leeds  of 
Lawton,  and  in  Loudon  of  Woelfl.  He  was 
organist  at  Bradford  in  1807,  then  at  Hali- 
fax, and  from  1820  at  Sheffield.  Works  : 
G  exercises  for  pianoforte  ;  12  sonatinas  ;  2 
divertissements  with  flute  ;  12  waltzes ;  8 


rondos  ;  10  airs  varies  ;  Duets  for  pianoforte. 
— Fetis  ;  Mendel. 

BOUCHER,  ALEXANDRE  JEAN,  born 
in  Paris,  April  11, 
1770,  died  there 
Dec.  29, 1861.  Vio- 
lin virtuoso,  said  to 
have  played  at  the 
Concerts  Spirituels 
when  only  six  years 
old  ;  went  to  Madrid 
in  1787,  and  was 
appointed  solo  vio- 
linist to  the  king. 
In  1806  he  returned  to  Paris,  and  in  1820 
began  to  travel  over  Europe,  exciting  ev- 
erywhere great  enthusiasm  on  account  of 
his  extraordinary  skill  in  execution.  He 
styled  himself  L'Alexandre  des  violons. 
He  composed  two  concertos  for  his  instru- 
ment. 

BOUFFET,  JEAN  BAPTISTE,  born  at 
Amiens,  Oct.  3,  1770,  died  in  Paris,  Jan. 
19,  1835.  Dramatic  composer  and  singer, 
made  his  musical  studies  while  a  choir-boy 
in  the  cathedral  of  his  native  city,  then  in 
Paris  (1791)  pupil  of  Tomeoni  in  singing, 
and  soon  became  himself  a  fashionable 
teacher.  Gifted  with  a  fine  tenor  voice,  he 
was  admitted  as  a  member  of  the  Imperial 
Chapel  in  1806,  and  retained  his  place  after 
the  restoration.  Works :  L'heureux  pre- 
texte,  opera,  given  at  the  Theatre  Montan- 
sier,  179-t ;  2  masses  for  four  voices ;  3 
psalms;  3  Magnificat;  2  Salve  Regina;  Sta- 
bat  Mater  for  four  voices,  chorus,  and  or- 
chestra ;  Romances,  chansons,  rondeaus,  and 
nocturnes. — Fetis. 

BOULANGER,  ERNEST  HENRI  ALEX- 
ANDRE, born  in  Paris,  Sept.  16,  1815,  still 
living,  1888.  Dramatic  composer,  pupil  at 
the  Conservatoire,  Paris,  of  Alkau,  Hak'vy, 
and  Lesueur,  won  the  grand  prix  in  1835, 
and  studied  in  Italy  four  years.  He  was 
made  professor  of  singing  at  the  Conser- 
vatoire in  1871.  L.  of  Honour,  1869. 
Works — Operas  :  Le  diable  ;"i  IV'cole,  given 
in  Paris,  Opera  Coniique,  1842;  Les  deux 


818 


BOULE-DE-NEIGE 


bergeres,  ib.,  1843  ;  Une  voix,  ib.,  1845  ;  La 
cachette,  ib.,  1847  ;  Les  sabots  de  la  mar- 
quise, ib.,  1854 ;  L'E- 
veutail,  ib.,  1860;  Le 
docteui"  Magnus,  ib., 
Op6ra,  1804;  Don 
Quichotte,  Theatre 
Lyrique,  1809  ;  Don 
Mucarade,  Opera  Co- 
luique,  1875  ;  Acbille, 
cantata,  1835  ;  Le  15 
Aout  aux  champs, 
do.,     1862. — Fetis  ;     Supplement,    i.    115. 

BOULE-DE-NEIGE  (Snow  Ball),  opera- 
bouft'e  in  three  acts,  text  by  Nuitter  and 
Trefeu,  music  by  Offenbach,  first  rejare- 
sented  at  the  Bouffes  Parisieus,  Paris,  De- 
cember, 1871.  Boule-de-Neige  is  a  bear, 
imposed  by  the  Grand  Khan  as  a  monarch 
upon  an  ungovernable  people  who  are  con- 
tinually getting  up  revolutions. 

BOUEGAULT-DUCOUDRAY,  LOUIS 
ALBERT,  born  in  Nantes,  France,  Feb.  2, 
1840,  still  living,  1888.  Dramatic  comjsoser, 
educated  a  lawyer  but  turned  to  music.  He 
studied  in  the  Conservatoire,  Paris,  under 
Ambroise  Thomas,  gained  an  aecessit  for 
fugue  in  1861,  and  took  the  grand  prix  of 
the  Institut,  18G2,  for  his  cantata,  Louise 
de  Mezieres.  While  in  Rome  he  wrote  a 
lyrical  drama  ;  visited  Greece,  and,  on  his 
return  to  Paris,  brought  out  a  Stabat  Mater 
(1868).  A  follower  of  Bach  and  Handel,  his 
large  private  fortune  has  enabled  him  to  in- 
troduce their  music  to  the  French  people, 
for  which  he  founded  a  choral  society  iu 
Paris.  Works  :  Stabat  Mater  for  soprano, 
alto,  tenor,  and  bass,  with  chorus  and  grand 
organ  and  orchestra  of  violoncellos,  double- 
bass,  harp,  and  trombones  ;  Dieu  notre  pere 
divin,  cantata  ;  Chanson  d'une  mere,  melo- 
die  ;  Chant  de  ceux  qui  vont  sur  mer  ;  Ga- 
votte et  menuet  pour  pianoforte.  At  the 
Concerts  Populaires,  1874,  he  brought  out 
a  Suite  pour  orchestre,  in  four  parts  ;  Fan- 
taisie  en  ut  mineiu'.  He  wrote  a  "  Souvenir 
d'une  Mission  musicale  en  Grece  et  en 
Orient "  (Paris,  1876),  and  published  '■  Trente 


Melodies  populaires  de  Grece  et  d'Orient 
avec  texte  grec,  traduction  italieune  en  vers 
adaptee  alamusique,  et  traduction  fran(,'aise 
en  prose." — Fetis,  Supplement,  i.  116  ;  Men- 
del, Ei-giinz.,  44. 

BOURGEOIS,  LOUIS  THOMAS,  born 
at  Fontaine-l'Eveque,  Haiuault,  in  1676, 
I  died  in  Paris  in  January,  1750.  Dramatic 
j  composer,  counter-tenor  at  the  Opera  iu 
1708.  From  1711  he  devoted  himself  to 
composition,  producing  sixteen  operas  and 
'  many  cantatas.  He  became  maitre  de  clia- 
pelle  at  Toul  about  1716,  and  after  that  at 
Strasburg.  Works  :  Les  Amours  deguises, 
opera-ballet,  given  iu  Paris,  Academie  Roy- 
ale  de  Musique,  1713  ;  Les  jjlaisirs  de  la 
paix,  do.,  ib.,  1715.  Besides  these  he  com- 
posed divertissements  and  court  ballets  : 
Les  nuits  de  Sceaux,  1714  ;  Le  Comte  de 
Gabalis,  oulesPeuples  elomentaires,  Sceaux, 
1715  ;  Les  peines  et  les  plaisirs  de  I'amour, 
Zephyr  et  Flore,  cantata,  1715  ;  Psyche, 
1718  ;  Diane,  1721 ;  Divertissement  pour  la 
naissance  da  Dauphin,  Dijon,  1729  ;  Idyle 
de  Rambouillet,  1735  ;  Cephale  et  I'Aurore  ; 
Phedre  et  Hipjiolyte  ;  La  lyre  d'Anacreon  ; 
Dedale  ;  Don  Quichotte.  He  published  two 
books  of  French  cantatas,  and  Cantates 
Anacreoutiques.  L'Amour  prisounier  de  la 
Beaute,  cantata  (Paris,  Ballard)  ;  L" Amour 
et  Psyche,  do.  (ib.)  ;  La  belle  Hollandaise, 
do.  (ib.) ;  Beatus  vir,  motet  for  full  chorus. 
^Fetis  ;  do.,  Supplement,  i.  117  ;  Mendel. 
BOURGEOIS  GENTILHOMME,  LE, 
comedie-ballet  in  live  acts,  test  by  Moliere, 
music  by  Lulli,  represented  at  Chambord, 
Oct.  14,  1670,  and  iu  Paris,  at  the  Theatre 
du  Palais  Royal,  Nov.  29,  1670.  One  of 
LuUi's  best  works,  it  was  very  successful. 
Iu  1852,  on  the  occasion  of  Moliere's  anni- 
versary, the  music  was  rearranged  bj'  Jules 
Cohen,  and  in  1876,  by  Weekerlin  for  the 
pianoforte  (Paris,  1876). 

BOURGES,  CLEMENTINE  DE,  com- 
poser of  the  16th  century,  died  Sept.  30, 
1561.  Her  works  occupy  a  place  among 
those  of  the  great  composers  of  her  time. 
A  four-part  chorus,  "  Da  bei  rami,"  written 


219 


BOURGES 


by  lier,  is  in  Paix's  Orgel-tabulatur  Buch. — 
Grove  ;  Meiulel  ;  Gerber  ;  Scliilliug. 

BOURGES,  JEAN  MAURICE,  born  at 
Bordeaux,  Dec.  2,  1812,  died  in  Paris,  April, 
ISSl.  Iiistruineutal  composer,  pupil  in  Paris 
of  Barbereau,  made  himself  first  kuowu  as  a 
musical  critic,  aud  by  an  ojsera  entitled  Sul- 
tana, given  at  the  Opera  Comique,  1846.  It 
was  well  received,  but  it  has  not  been  fol- 
lowed by  any  further  etlbrt  in  this  field. 
Other  works  :  Two  trios  for  pianoforte,  vio- 
lin, and  violoncello  ;  2  sonatas  for  piano- 
forte ;  Caprices,  barcarolles,  waltzes,  ro- 
mances for  do. ;  Vocal  melodies  ;  Stabat 
Mater,  1863. — Fetis  ;  do.,  Suj^plement,  i. 
117  ;  Mendel. 

BOURIE,  HONORfi,  born  at  Nimes  in 
1795,  died  (?).  Instrumental  composer,  bas- 
soon-player in  the  theatre  orchestra  of  his ! 
native  city,  where  he  brought  out  a  comic 
opera,  Les  deux  philosophes,  in  1812. 
Other  works :  A  cantata  ;  Concertos  for 
bassoon  ;  Quartets  for  wind  instruments ; 
Church  music  ;  Romances. — Fetis,  Supjjle- 
ment,  i.  117. 

BOUSQUET,  GEORGES,  born  at  Per- 
jjignan,  France,  March  12,  1818,  died  at 
Saint-Cloud,  near  Paris,  June  15,  1851. 
Dramatic  composer  and  musical  critic,  jju- 
pil  at  the  Conservatoire  of  Collet  and  of  El- 
wart  in  harmony,  then  (1836)  of  Leborne  in 
counterpoint  and  fugue,  and  of  Berton  for 
dramatic  style.  He  won  the  grand  prix  in 
1838,  spent  two  years  in  Rome,  where  he 
was  made  a  member  of  the  Accademia  di 
Sta.  Cecilia,  aud  of  the  Filarmonici,  passed 
the  year  1811  in  Germany,  and  returned  to 
Paris  after  live  years'  absence.  In  1847  he 
became  chef  d'orchestro  at  the  Opi'ra,  and 
ill  1849-51  held  the  same  position  at  the 
Theatre  Italien.  As  a  critic  he  wrote  for 
the  "  Commerce,"  the  "  Illustration, "  and  the 
"  Gazette  nmsicale  de  Paris."  Works  :  La 
vendetta,  cantata,  performed  at  the  Acade- 
mie  des  Beaux  Arts,  1838  ;  Mass,  for  voices 
only,  Rome,  S.  Luigi  de'  Fraucesi,  1839  ; 
Mass  with  orchestra,  ib.,  1840  :  Miserere 
for  8  voices  with  orchestra  (1840) ;  Three 


quartets  for  2  violins,  viola,  and  violoncello 
(1841) ;  Quintet  for  2  violins,  viola,  violon- 
cello, and  double-bass  (1842)  ;  Overture  for 
orchestra,  Academie  des  Beaux  Ai'ts,  1842  ; 
L'hotesse  de  Lyon,  opera.  Conservatoire, 
1844  ;  Le  niousquetaire,  do.,  Opera  Co- 
mique, 1844  ;  Tabarin,  do..  Theatre  Lyrique, 
1852.— Fetis  ;  Mendel. 

BOUSSET,  JEAN  BAPTISTE  DROU- 
ART  DE,  born  at  Anieres,  near  Dijon,  in 
1662,  died  (?).  Vocal  composer,  pupil  of 
Jacques  Farjonel  at  the  Jesuit  college  in 
Dijon  ;  he  was  for  several  years  maitre  de 
musique  of  the  Lou^Te.  His  real  name 
was  Drouart.  Works  :  Cantates  fran(;aises  ; 
Eglogues  bachiques  ;  Twenty-one  books  of 
airs  ;  Motets.  His  son  Rene  (born  in  Paris, 
Sept.  11,  1703,  died  there,  May  19,  1760), 
pupil  of  Beruier,  and  of  Calviere,  became 
one  of  the  best  French  organists.  He  com- 
posed odes,  cantatas,  and  arias. — Fetis ; 
Mendel. 

BOUTEILLER,  LOUIS,  born  at  INIonce- 
en-Rain,  Maine,  in  1648,  died  at  Mans  in 
1724.  Church  composer,  maitre  de  musique 
of  the  cathedral  at  Mans,  from  his  fifteenth 
year.  Several  of  his  numerous  composi- 
tions, consisting  of  masses,  motets,  hymns, 
and  anthems,  were  executed  before  Louis 
XIV.,  who  often  ordered  them  to  be  re- 
peated.— Fetis ;  Mendel. 

BOUVAIiD,  FRANCOIS,  born  in  Paris 
about  1670,  time  of  death  not  known.  Dra- 
matic composer,  was  a  singer  at  the  Opera 
until  the  age  of  sixteen,  when  he  lost  his 
voice  ;  he  travelled  extensively  aud  spent 
several  years  in  Rome.  W^orks  :  Meduse, 
given  at  the  Academic  Royale  de  Musique, 
1702  ;  Cassandre  (with  Berlin),  ib.,  1700. 
For  the  court  he  wrote:  Ariane  et  Bacchus, 
Le  triomphe  de  I'Amour  et  de  I'Hymen, 
1729  ;  Diane  et  I'Amour,  idyl,  1730  ;  L'e- 
cole  de  Mars,  1733  ;  Cantatas  ;  Collections 
of  arias  ;  Sonatas  for  violin. — Fetis  ;  Men- 
del. 

BOVERY,  JULES,  born  at  Liege,  Oct. 
21,  1808,  died  in  Paris,  July  17,  1868.  Real 
name  Antoine  Nicolas  Joseph  Bovy.    Violin- 


s' 


BOXBERG 


ist  anil  dr.amatio  composer,  entirely  self- 
taught,  iu  Paris,  whither  he  weut  on  leaving 
the  college  of  his  native  citj-.  He  became  a 
chorus  singer  iu  the  theatre  at  Lille,  where 
he  assisted  also  in  conducting  the  orches- 
tra, then  became  chef  d'orohestre  at  Douai, 
and  successively  at  Lyons,  Amsterdam,  Ant- 
werp, Koueu,  and  iu  1845  at  Ghent,  having 
returned  to  Paris  the  year  before.  Iu  1856 
he  was  first  violinist  at  the  Theatre  des  Fo- 
lies  Nouvelles,  Paris,  and  about  1865  be- 
came chef  d'orchestre  at  the  Folies  Saint  Ger- 
main (Theatre  Cluny).  Works:  Mathieu 
Laensberg,  given  at  Douai  about  1830  ;  Paul 
I.,  ib.  ;  La  Tour  de  Eouen,  Kouen,  Theatre 
des  Arts,  1843  ;  Charles  II.,  Paris,  Theatre 
des  Baulieues,  1844  ;  Jacijues  d'Artevelde, 
Ghent,  1846  ;  Le  Giaour,  Lyons,  Amster- 
dam, and  Antwerp,  1840-48  ;  Isoline,  ballet, 
given  at  Lyons  ;  La  Carte  a  payer,  Liege  ; 
Several  operettas,  and  pantomimes,  Paris, 
Folies  Nouvelles  ;  France  et  Augleterre,  can- 
tata ;  Ouverture  triomphale  ;  Ave  Regiua, 
etc. — Fetis  ;  do.,  Supplement,  i.  11  ;  Gre- 
goir,  Galerie  biogr.  des  Artistes  musiciens 
beiges. 

BOXBERG,  CHRISTIAN  LUDWIG, 
born  at  Sondershausen,  April  24,  1670,  died 
at  Gorlitz,  time  not  known.  Dramatic  com- 
l^oser  and  organist,  j)upil  of  the  Thomas- 
schule,  Leipsic  ;  was  at  first  tutor  in  a 
private  family,  1686-92,  then  organist  at 
Grossenhain,  and  since  1702  at  Gorlitz. 
His  operas  were  very  popular  in  his  time, 
and  he  often  received  invitations  to  the 
courts  of  Ansbach,  Cassel,  Wolfenbiittel,  and 
others.  Among  them  are  :  Orion,  Sarda- 
napalus.  Die  verschwiegeue  Treue. — Gerber, 
N.  Lex. ;  Mendel  ;  Schilling. 

BOYCE,  WILLIAM,  born  in  London  in 
1710,  died  there,  Kensington,  Feb.  7,  1779. 
Dramatic  composer,  pupil  of  Charles  King, 
under  whom  he  was  a  chorister  iu  St.  Paul's 
Cathedral,  then  of  Maurice  Greene,  and, 
after  becoming  organist  of  Oxford  Chapel, 
Cavendish  Square,  of  Dr.  Pepusch.  Iu  1736 
he  became  organist  of  St.  Michael's,  Corn- 
hill,  and  in  the  same  year  composer  to  the 


r^ 


Chapel  Royal  and  the  king.  Li  1737  ho. 
was  appointed  conductor  of  the  music  festi- 
vals of  the  Three 
Choirs  (Glouces- 
ter, Worcester, 
and  Hereford), 
became  organist 
of  the  church  of 
All-hallows  the 
Great  and  the 
Less  in  1749, 
and      of      the 

Chapel  Royal  in  1758,  when  ho  resigned 
the  other  two  organist's  j)ositions,  and  re- 
tired to  Kensington.  Doctor  of  Music, 
Cambridge,  1749  ;  master  of  the  King's 
Band,  1755.  Works  :  David's  Lamentation 
over  Saul  and  Jonathan,  oratorio,  performed 
at  the  Apollo  Society,  1736  ;  Two  Odes  for 
St.  Cecilia's  Day  (1736) ;  Solomon,  serenata, 
1743  ;  Twelve  sonatas  or  trios  for  2  violins 
and  bass  (London,  1747)  ;  Ode  for  the  In- 
stallation of  the  Duke  of  Newcastle  as  Chan- 
cellor of  Cambridge  University,  1749  ;  Pe- 
leus  and  Thetis,  masque,  1749  ;  Pindar's 
First  Pythian  Ode,  1749 ;  The  Chaplet,  mu- 
sical drama,  Drury  Lane  Theatre,  1749  ; 
The  Shepherd's  Lottery,  do.,  ib.,  1750  ;  Sec- 
ular Ode  by  Dryden,  ib.,  1752  ;  2  Odes  in 
Home's  Agis,  1'758 ;  Ode  to  Charity  ;  15 
Anthems,  Te  Deum,  and  Jubilate  (London, 
1780) ;  12  Anthems  and  a  Service  (ib., 
1790)  ;  Organ  concerto  ;  8  symphonies  for 
various  instruments  ;  Overtures  ;  Lyra  Bri- 
tannica,  collection  of  songs,  duets,  and  can- 
tatas. He  also  edited  Cathedral  Music, 
being  a  collection  of  the  most  valuable  com- 
positions for  tliat  service  by  eminent  com- 
posers (London,  1760-78). — Burney,  iii. 
619  ;  Grove  ;  Fctis  ;  Mendel. 

BOYLE,  FRANCESCO,  born  at  Piacenza 
in  1787,  died  in  :Milan,  Nov.  27,  1844.  Dra- 
matic composer,  went  in  1801  to  i\Iilan, 
where  he  studied  music  and  became  an 
excellent  singer,  and,  having  lost  his  eye- 
sight, 1830  (?),  devoted  himself  to  vocal  in- 
struction and  formed  many  eminent  pupils. 
Works  :   II  Carnovale  di  Venezia,  given  in 


331 


BOZZAXO 


Milan,  Teatro  Ri-,  1812  ;  La  Selvaggia,  not 
performed  ;  Solfeggi  for  luezzo-soprauo  ; 
Pianoforte  music. — Fetis  ;  Mendel. 

BOZZANO,  E:MILI0,  Italian  composer, 
contemporary.  He  has  written  :  Diem  la 
Zingara,  Italian  opera,  given  at  the  Teatro 
Doria,  Genoa,  June  20,  1872  ;  Benvenuto 
Cellini,  opera  seria,  represented  at  the  Poli- 
teama,  Genoa,  May  20,  1877. 

BOZZELLI,  GIUSEPPE,  Italian  com- 
poser, contemporary.  He  is  the  author  of  : 
Caterina  di  Belp,  Italian  opera,  three  acts, 
given  at  the  Teatro  Balbo,  Turin,  June  4, 
1872. 

BR.4BANV0NNE,  LA,  the  Belgian  na- 
tional air.  It  was  composed  during  the 
revolution  of  1830,  from  which  Belgium 
dates  its  independence,  the  words  by  Jen- 
neval,  who  fell  in  one  of  the  actions  near  Ant- 
werp, and  the  music  by  Franc;ois  van  Cain- 
penhout.  King  Leopold  gave  the  mother 
of  Jenneval  a  pension  of  2,400  francs,  and 
appointed  Campeuhout  director  of  the  royal 
band. 

WILLIAM  BATCHEL- 
DER,  born,  of  Amer- 
ican parentage,  in 
York,  Maine,  Oct.  6, 
1816,  died  in  Mont- 
clair,  New  Jersey-,  Jan. 
7,  1868.  He  received 
his  first  musical  in- 
struction from  Sum- 
ner Hill ;  in  1830  he 
removed  to  Boston, 
where  he  attended 
music  classes  taught  by  Lowell  Mason  and 
Geoige  J.  Webb.  In  1840  he  began  teach- 
ing music  in  New  York  ;  in  1847  he  visited 
Europe,  and  studied  music  at  Leipsic  under 
Hauptmann,  INIoscheles,  and  Bijhme.  After 
his  jeturu  to  America,  in  1849,  he  devoted 
his  time  to  teaching,  composing,  and  to  con- 
ducting musical  conventions  in  various  parts 
of  the  country.  In  1854,  with  his  brother 
Edward  G.  Bradbury  and  F.  C.  Lighte,  he 
began  to  manufacture  pianos,  which  busi- 
ness he  afterwards  continued  on  his  own 


BRADBURY, 


account,  until  1869,  and  at  one  time  the 
Bradbury  pianos  w^ere  widely  known.  Mr. 
Bradbury  was  the  editor  of  more  than  fifty 
collections  of  music,  from  1841  to  1867,  in 
which  much  of  the  music  was  his  own. 
Some  of  these  collections  had  a  very  large 
sale,  especially  The  Jubilee  (1857),  200,000 
copies  ;  Fresh  Laurels  (1867),  1,200,000 
copies  ;  and  the  Golden  Series  (including 
several),  about  2,000,000  copies.  He  was 
the  author  also  of  Daniel,  cantata  (with  G. 
F.  Root,  1853)  ;  Esther,  cantata  (1856). 

BRADSKY,  THE  ODOR  (WENZEL), 
born  at  Rakovnik,  Bohemia,  Jan.  17,  1833, 
died  there,  Aug.  10,  1881.  Dramatic  com- 
poser, first  instructed  in  his  native  place  by 
the  choirmaster  Johann  Lepicovsky,  then 
jnipil  in  Prague  of  Caboun  and  Pischek  in 
singing  ;  went  to  Berlin,  where  he  entered 
the  royal  cathedral  choir,  and  taught  vocal 
music.  Prince  George  of  Prussia  made  him 
his  court  composer  in  1874.  His  most  pop- 
ular works  are  his  Bohemian  and  German 
songs,  and  quartets  for  male  voices.  Works 
— Operas  :  Der  Heirathszwang  (1859)  ;  Ros- 
witha,  given  at  Dessau,  1860  ;  Die  Braut 
des  Waffenschmieds  (1861)  ;  Das  Krokodil 
(1862) ;  Jarmila,  Prague,  1879  ;  Der  Ratten- 
fiinger  von  Hameln,  Berlin,  1881  ;  Music  to 
the  tragedy  Jolanthe,  text  by  Prince  George 
of  Prussia,  1872  ;  do.  to  Christine  von 
Schweden,  text  hy  do.,  Berlin,  1872. — Men- 
del ;  Riemann. 

BRAGA,  GAETANO,  born  at  Giulianu- 
ova,  in  the  Abruzzi,  June  9,  1829,  still  living, 
1888.  Dramatic  composer  and  -^-ioloncellist. 
He  was  destined  for  the  church,  and  entered 
the  Consorvatorio,  Naples,  to  study  singing, 
but  finally  took  up  the  violoncello,  under 
Gaetauo  Ciavidelli,  studying  harmony  under 
Parisi,  accompaniment  under  Francesco 
Ruggi,  counterpoint  under  Carlo  Conti,  and 
composition  under  Mercadante.  He  made 
his  first  effort  in  composition  while  under 
the  last-named,  writing  Saiil,  cantata,  and 
a  luass  for  four  voices  and  orchestra.  He 
brought  out  his  first  dramatic  work.  Alma 
Braga,  soon  after  leaving  the  Couservatorio 


222 


BRAII-MULLER 


(1852).  Travelled  in  Italy,  went  to  Vienna, 
where  he  played  with  Mayseder,  then  to 
Paris  in  1855,  where  he  appeared  at  con- 
certs as  a  virtuoso,  and  taught  singing. 
Works— Operas  :  Estella  di  San  Gerinano, 
given  in  Vienna,  1857  ;  II  Ritratto,  Naples, 
1858  ;  Margherita  la  mendicaute,  Paris, 
Theatre  It.alien,  1860  ;  Mormile,  Milan,  Feb. 
4,  1862  ;  Gli  avveuturieii,  ib.,  Teatro  Santa 
Radegouda,  1867 ;  Reginella,  Teatro  Car- 
cano,  Milan,  1872  ;  Caligola,  Lisbon,  Jan. 
23,  1873.  He  also  set  to  music  Don  Cicsar 
de  Bazan  and  Ruy  Bias,  which  have  not  been 
produced.  Besides  dramatic  works  he  has 
published :  Concerto  for  violoncello  in  G 
minor,  and  other  music  for  that  instrument, 
with  pianoforte  accompaniment ;  Vocal 
pieces  ;  and  au  Album  of  Vocal  Melodies 
with  Italian  words,  another  with  French 
words,  and  a  third  entitled,  Notti  Lombardi. 
— Fctis,  Supplement,  i.  120. 

BRAH-MULLER,  KARL  FRIEDRICH 
GUSTAV,  born  at  Kritschen,  Silesia,  Oct. 
7,  1839,  died  in  Berlin,  Nov.  1,  1878.  Dra- 
matic comijoser,  pupil  of  Steinbrunn  at  the 
seminary  of  Bromberg,  later  in  Berlin, 
1862-63,  of  Flodoard  Geyer.  Since  1867 
he  has  been  instructor  at  Wandelt's  Insti- 
tute, Berlin.  Works  :  Ein  IMatrose  von  der 
Nymphe,  Singspiel,  given  in  Berlin,  IMeysel's 
Theater,  1864  ;  Deutschland  im  Urwald  ; 
Te  Deum,  for  chorus  and  orchestra,  1866  ; 
Quartets  for  violins  ;  Organ  music  ;  Char- 
acteristic pieces  for  pianoforte  ;  Sonatas  ; 
Duets  ;  Songs ;  Choral  motets,  etc. — Mendel. 

BRAHAM,  JOHN,  liorn  in  London  in 
1  7  7  -t ,  died  there, 
Feb.  17,  1856.  Dra- 
matic composer  and 
tenor-singer  ;  jDupil 
in  London  of  Leoni 
while  very  young,  at 
Bath,  in  1794,  of 
Rauzzini,  and  in 
Genoa  of  Isola  in 
composition.  He 
made  his  appearance  at  a  very  early  age  at 
Covent  Garden  Theatre,  but  came  into  no- 


tice as  a  great  tenor  in  1796,  in  the  opera  of 
Mahmoud  at  Drury  Lane,  and  was  at  once 
engaged  for  the  Italian  Opera  House.  After 
that  he  visited  Italy  to  perfect  himself,  and 
appeared  in  Florence,  Rome,  Naples,  Milan, 
Genoa,  Venice,  etc.,  retiu-ning  in  1801  to  Eng- 
land, to  reappear  at  Covent  Garden.  From 
that  date  his  career  was  a  triumphant  one, 
and  he  was  a  public  singer  for  nearly  sixty 
years.  His  voice  was  powerful,  and  his 
compass,  of  three  octaves,  unusually  wide. 
As  a  composer  he  obtained  success  in  many 
ballads  and  songs,  one  of  the  most  popular 
being  the  Death  of  Nelson.  He  wrote  also 
most  of  the  music  for  his  own  parts  in 
several  of  the  operas  in  which  he  appeared. 
Works — Music  to  Dramas  :  The  Cabinet, 
1801  ;  Family  Quarrels,  1802  ;  Enghsh 
Fleet,  1802  ;  Thirty  Thousand,  1804  ;  Out 
of  Place,  1805  ;  False  Alarms,  1807  ;  Kais, 
or  Love  in  a  Desert  (with  Reeve),  1808  ; 
The  Devil's  Bridge  (with  C.  E.  Horn),  1812  ; 
The  Paragraph  ;  Narensky  ;  The  Americans  ; 
The  ]V[agicians  (with  M.  P.  King).— Grove  ; 
Brown  ;  Fetis  ;  ]\Ieudel. 

BRAHMS,  JOHANNES,  born  in  Ham- 
burg, Germany,  May 
7,  1833,  still  hving, 
1888.  His  musical 
education,  begun  un- 
der Ins  father,  who 
was  a  musician,  was 
continued  undei 
Marxsen  of  Alton  a 
In  1853  he  met,  at 
Diisseldorf,  Schii- 
mann,  who  entei- 
tained  the  very  highest  hojses  of  him,  and 
published  an  enthusiastic  article  on  him 
in  the  Neue  Zeitschrift  f iir  Musik.  But  for 
several  years  after  this  Brahms  seemed 
rather  to  belie  Schumann's  prophecies,  and 
Schumann  himself,  in  his  later  years,  ex- 
pressed himself  as  much  disai^pointed  in 
hiin.  Brahms  remained  in  Hamburg  until 
1861,  studying  hard,  and  publishing  a  good 
deal.  His  reputation  was  beginning  to  es- 
tablish itself,  but  it  was  hardly  brilliant, 


BRAHMS 


and  was  confinetl  to  the  more  cultivated 
musical  circles ;  upon  the  whole,  his  talent 
was  much  disputed.  In  1861  he  moved  to 
Vienna,  where  he  conducted  the  Siug-Aka- 
demie  in  ISGS-G-l,  and  was  director  of  the 
concerts  of  the  Gesellschaft  der  Musik- 
freunde  from  1872  to  1875,  bringing  out 
choral  works  by  Bach  and  Handel  with 
great  lustre.  His  reputation  as  a  composer 
kej)t  growing  apace,  but  was  still  not  wide- 
spread. His  first  symphony,  upon  which 
he  had  been  at  work  for  ten  years,  off  and 
on,  came  almost  like  a  thunderclap  out  of 
a  clear  sky  when  it  was  brought  out  at 
Carlsruhe,  Nov.  4,  1876.  No  composition 
ever  made  more,  or  more  immediate,  noise 
in  the  world  ;  Brahms  found  himself  sud- 
denly world  fan)ous.  His  fame  was  still  in- 
creased by  his  Deutsches  Eequiem  and  his 
second  symphony.  He  stands  to-day  almost 
undisputed  as  the  foremost  com2:)Oser  in  the 
world.  He  represents  the  climax  of  modern 
musical  thought ;  he  is  the  legitimate  suc- 
cessor of  Schumann.  His  style  is  marked 
bj'  great  elaboration,  and  there  is  in  his  mu- 
sic a  stoutness  of  construction,  a  warmth  of 
sentiment,  and  a  real  profundity  of  thought 
(which  has  often  been  misconstrued  into 
abstruseness)  such  as  no  other  living  com- 
poser can  lay  claim  to.  He  was  alwilj's  an 
anti-Wagnerite,  and,  during  the  Bayreuth 
master's  later  years,  an  Gernaftuy  may  be 
said  to  have  virtually  been  divided  into 
Wagnerianer  and  Brahmsianer.  Works — 
Choral :  Ein  Deutsches  Requiem,  for  solo 
voices,  chorus,  and  orchestra,  op.  45,  first 
performed  in  Vienna,  1868  ;  Rinaldo,  can- 
tata (Goethe),  for  tenor  solo,  male  chorus, 
and  orchestra,  op.  50  ;  Rhapsodic,  frag- 
ments from  Goethe's  "  Harzreise  "  for  con- 
tralto solo,  male  chorus,  and  orchestra,  op. 
58  ;  SchicksaUUed  (song  of  destiny,  by  HiJl- 
derlin),  for  chorus  and  orchestra,  op.  54 ; 
Triumphlied  (Rev.,  chap,  xix.),  for  eight-part 
chorus  and  orchestra,  op.  55  ;  Ndnie,  for 
cliorus  and  orchestra,  op.  82  ;  Gesang  der 
Parzen  (fi'om  Goethe's  "Iphigenia"),  for  six- 
part  chorus  and  orchestra,  op.  89 ;  Ave  Maria, 


for  female  voices,  organ,  and  orchestra,  op. 
12  ;  Funeral  hymn,  for  chorus  and  wind 
instruments,  op.  13 ;  4  part-songs  for  female 
chorus,  two  horns,  and  harp,  op.  17 ;  7 
Marienlieder,  for  mixed  choir,  in  two  parts, 
op.  22  ;  Psalm  xiii.,  for  female  chorus  and 
organ,  op.  27  ;  Geistliches  Lied  (Paul  Flem- 
miug),  for  four  voices,  mixed  choir  and  or- 
gan, op.  30  ;  3  sacred  choruses  for  female 
voices,  op.  37  ;  5  part-songs  for  male  chonis 
(four  voices),  op.  41 ;  3  songs  for  chorus 
(six  voices),  a  cappella,  op.  42  ;  12  songs  and 
romances,  for  female  chorus,  a  cappella,  op. 
44  ;  7  songs  for  mixed  choir,  op.  62  ;  2  mo- 
tets for  five  voices,  a  cappella,  op.  29.  For 
orchestra  :  4  symphonies,  in  C  minor,  op.  68, 
in  D,  op.  73,  in  F,  op.  90,  in  E  minor,  op. 
98;  Akademisclie  Fest-Ouverture,  op.  .80; 
Tragische  Ouverture,  op.  81  ;  Variations  on 
a  theme  by  Haj-dn  (Choral  St.  Antonin),  op. 
56  ;  Serenade  in  D,  op.  11  ;  do.  in  A,  op. 
16  (for  small  orchestra).  Concerted  music  : 
Concerto  in  D,  for  pianoforte  and  orchestra, 
op.  15  ;  do.  in  B-flat,  for  do.,  op.  83  ;  do.  for 
violin  and  orchestra,  in  D,  ojj.  77  ;  2  sextets 
for  strings,  in  B-fiat,  op.  18,  and  in  G,  op.  36  ; 
Quintet  for  do.,  op.  88  ;  Quintet  for  piano- 
forte and  strings,  in  F  minor,  op.  34  (also 
arranged  for  two  pianofortes)  ;  3  quartets 
for  strings,  in  C  minor  and  A  minor,  op.  51, 
Nos.  1,  2,  and  in  B-flat,  op.  67  ;  3  quartets 
for  pianoforte  and  strings,  in  G  minor",  op. 
25,  in  A,  op.  26,  and  in  C.  minor,  op.  60  ;  3 
trios  for  pianoforte,  violin,  and  violoncello, 
in  B,  op.  8,  in  E,  op.  40  (with  horn  or  vio- 
loncello), in  C,  oj).  87  ;  Sonata  for  violoncello 
and  pianoforte,  in  E  minor,  op.  38  ;  do.  for 
violin  and  pianoforte,  op.  78.  For  piano- 
forte :  3  sonatas,  in  C,  op.  1,  in  F-sharjD  mi- 
nor, op.  2,  and  in  F  minor,  op.  5  ;  4  Bal- 
laden,  op.  10  ;  Scherzo  in  E-flat  minor,  op. 
4  ;  16  waltzes  (4  hands),  op.  39  ;  Ungarhche 
Tilnze  (4  hands,  also  for  orchestra) ;  8  jiieces 
in  two  books,  op.  76  ;  Rhapsodien,  op.  79  ; 
Variations  (themes  by  Schumann),  op.  9  and 
23  ;  2  do.,  op.  21  ;  Variations  and  fugue 
(Handel),  op.  24  ;  28  variations  (Paganini), 
op.  35.     Vocal :  Liebeslieder,  waltzes  for  pi- 


224 


BRAMDACH 


anoforte  for  four  liands,  and  voieos,  op.  52  ; 
Neue  Liebeslieder,  do.,  op.  65  ;  3  quuitcts 
for  soprano,  contralto,  tenor,  and  bass,  op. 
32  ;  4  do.,  op.  64  ;  4  duets  for  contralto 
and  baritone,  op.  29  ;  3  do.  for  soprano 
and  contralto,  op.  21  ;  4  do.,  op.  61 ;  5  do., 
op.  66  ;  4  do.,  op.  75  ;  6  songs,  op.  3  ;  do., 
op.  6  ;  do.,  op.  7  ;  8  songs  and  romances, 
oj).  14  ;  5  songs,  op.  19  ;  9  do.,  op.  32  ;  15 
romances  from  Tieck's  Magelone,  op.  33  ; 
4  songs,  op.  43  ;  do.,  op.  46  ;  do.,  op.  47  ;  7 
do.,  op.  48  ;  5  do.,  op.  49  ;  8  do.,  op.  57  ; 


do.,  op.  58;  do.,  op.  59  ;  9  do.,  op.  63  ;  do., 
op.  69  ;  4  do.,  op.  70  ;  5  do.,  op.  71 ;  do.,  op. 
72. — Deiters,  Joh.  Bralims,  eine  Charakter- 
istik  (1880) ;  Wocbenblatt  (1870),  i.  40,  56  ; 
Eiemann  ;  Signale  Saral.  mus.  Vortriige,  23- 
24,  ii.  319  ;  Dwiglit's  Journal,  xxii.  389  ; 
xxiv.  269. 

BR.\MBACH,  CASPAR  JOSEF,  born  at 
Bonn,  Westpliulla,  July  14,  1833,  still  living, 
1888.  Composer,  pujjil  at  Cologne  of  the 
Conservatorium  and  of  Ferdinand  Hiller. 
In  1847-50  lie  was  first  violinist  of  the  Bonn 
Opera  House  ;  in  1858-61  professor  in  the 
Conservatorium,  in  18()l-69  musical  di- 
rector at  Bonn  ;  and  since  then  he  has  re- 
sided at  Bonn  as  composer  and  teacher. 
Works  :  Ariadne,  grand  opera.  Cantatas  : 
Die  Macht  des  Gesanges,  op.  6  ;  Velleda,  op. 
7  ;  Trost  in  TiJnen,  op.  10  ;  Das  eleusische 
Fest,  op.  32  ;  Friihlingshymnus,  op.  37  ; 
Alcestis,  op.  14  ;  Prometheus,  op.  47  (1880) ; 


Columbus,  op.  58  (1886) ;  Germanischer 
Siegesgesang,  op.  26  ;  Das  Lied  vom  llliein, 
op.  40  ;  Lenzerwachen,  op.  46  ;  Rheinfahrt, 
op.  54.  Songs,  duets,  choruses,  etc.  ;  Tas- 
so,  a  concert-overture,  op.  30  ;  Sonata  for 
pianoforte,  op.  3  ;  Sextet  for  two  pianofortes 
two  violins,  two  violas,  oj).  5  ;  2  sonatas  for 
pianoforte,  op.  20  ;  Concerto  for  do.  and 
orchestra,  op.  39  ;  2  romances  for  violon- 
cello and  pianoforte,  op.  41. — Mendel ;  Rie- 
mann. 

BRAMBILLA,  PAOLO,  born  in  Milan 
(or  in  Vienna?)  in  1793,  died  (?).  Dra- 
matic comjioser,  who  enjoyed  considerable 
reputation  in  Italy  in  1815-20.  Works  : 
L'  Ajiparenza  inganna,  opera  buffa,  Milan, 
Teati-o  Re,  1816  ;  II  Barone  bnrlato,  opera, 
ib.,  1816  ;  L'  Idolo  birmanno,  ib.,  1816  ;  II 
Carnovale  di  Venezia,  Turin,  1819.  Ballets, 
given  at  the  Scala,  Milan  :  Acbar  gran  Mo- 
gol,  Saffo,  Capriccio  e  buon  cuore,  1819  ; 
Giovanua  d'  Arco  (with  Lichtenthal  and  Vi- 
gano),  1821 ;  II  Paria,  1828  ;  Camma,  1833. 
— Fetis  ;  do.,  Supplement,  i.  122  ;  Mendel. 

BRANCA,  GUGLIEL^MO,  Italian  com- 
poser, contemporary.  He  is  the  author  of 
Catalana,  opera,  represented  at  La  Pergola, 
Florence,  February,  1876. 

BRANCACCIO,  ANTONIO,  born  at  Na- 
ples in  1813,  died  there,  Feb.  12,  1846. 
Dramatic  composer,  pupil  of  the  Couserva- 
torio  at. Naples.  Works  :  I  Panduri,  given 
at  Naples,  Teatro  Nuovo,  1843  ;  II  Morto 
ed  il  vivo,  opera  bulla,  ib.,  1843  ;  II  Punti- 
glione,  do.,  ib.,  1845  ;  L'  Assedio  di  Con- 
stantina,  Teatro  Fenice,  1844  ;  L'  Incognita, 
ossia  dopo  quindici  anni,  ib.,  1846 ;  Ros- 
muuda,  Venice,  Teatro  Fenice,  about  1830  (?) ; 
Le  Sarte  ealabresi,  ib.,  about  1832  (?) ;  Fran- 
cesca  da  Rimini,  ib.,  1844  ;  Lilla,  ib.,  1848  ; 
I  duje  Vastasi  di  Porto,  opera  in  Neapolitan 
dialect,  Naples,  about  1830  (?).— Fetis  ;  Rie- 
mann. 

BRANCOLI,  CESARE,  born  at  Massa- 
Pisana,  near  Lucca,  June  11,  1788,  died  July 
9,  1869.  Amateur  church  composer,  pu- 
pil at  Lucca  of  Domenico  Quilici.  Among 
his   numerous   works   are  :   Stabat  Mater, 


BRANDEIS 


Beuedictus,  Miserere,  for  several  voices  and 
iustriiments  ;  Cliristum  regem,  for  4  voices  ; 
Mass  with  grand  orchestra  ;  Motets  with  do. ; 
Several  masses  and  motets  for  4-8  voices 
with  orchestra. — Ft-tis,  Supplement,  i.  122. 
BRANDEIS,  FREDERICK,  born,  of  Ger- 
man iiarentage, 
in  Vienna,  July 
5,  1835,  still  liv- 
ing, 1888.  Or- 
ganist ;  studied 
in  Vienna  the  jji- 
anoforte  u  n  d  e  r 
Joseph  Fischhof 
and  Carl  Czerny, 
and  composition 
'  under    Eufiuat- 

scha  ;  and  in 
New  York  under  William  Meyerhofer.  In 
1849  he  went  to  America  and  travelled  ex- 
tensively in  the  United  States  with  William 
Vincent  Wallace's  concert  company  ;  his  first 
jjublic  appearance  in  New  York,  where  he 
finally  settled,  was  in  1851  as  a  pianist.  He 
was  organist  of  St.  Jiilin  the  Evangelist  (E. 
C.)  Church  in  18G5-70,  and  of  St.  James's 
(R.  C.)  Chui-ch  in  1871-86.  Since  1886  he 
has  been  organist  of  the  Fortj'-fourth  Street 
Sj-nagogue,  and  is  at  present  organist  of 
Sl.  Peter  and  St.  Paul's  (R.  C.)  Church 
in  Brooklyn.  Works  :  Maria  Stuart,  over- 
ture ;  Capriccio  ;  Scherzo  ;  Gavotte  sym- 
phonique,  and  other  orchestral  pieces  ;  Trio, 
quintet,  and  other  in.strumental  music  ;  Toc- 
cata, tarentelle,  sonata,  and  other  pianoforte 
music  ;  Vocal  quartets  and  glees  ;  Many 
songs,  of  which,  "  My  love  is  like  the  red, 
red  rose,"  is  the  most  popular. 

BRANDL,  JOHANN,  born  at  Rohr,  near 
Ratisbou,  Nov.  14,  1760,  died  in  Carlsruhe, 
May  26,  1837.  Dramatic  composer,  pupil 
of  Valesi  in  singing,  and  studied  in  Rohr, 
Munich,  and  Neuburg.  When  only  sixteen 
years  old  he  wrote  a  Miserere,  which  was 
sung  in  the  Jesuit  Church,  Neuburg,  and 
one  of  the  Jesuit  fathers  sent  him  to  Eich- 
stiidt  to  study  counterpoint  under  Schlecht. 
In  1784  he  was  appointed  Kapellmeister  to 


Prince  Hohenlohe-Bartenstein,  in  1789  Mu- 
sik-Direktor  to  the  Bishop  of  Bruchsal,  and 
in  1806  the  same  to  the  Archduke  of  Baden 
at  Carlsruhe.  Works  :  Germania,  opera, 
1800  ;  Hermann,  do. ;  Hero,  melodrama, 
(Carlsruhe)  ;  Symphony  for  full  orchestra  ; 
Serenades,  quintets,  quartets,  sextets,  and 
nocturnes  for  string  and  wind  instruments  ; 
Oratorio  ;  Masses,  etc.  He  set  the  poems 
of  Schiitz  to  music  (Leipsic),  and  jjublished 
collections  of  Lieder  for  one  and  several 
voices,  with  pianoforte.  —  Fetis  ;  Mendel ; 
Schilling. 

BRANDTS  BUYS,  LUDWIG  FELIX, 
born  at  Deventer,  Holland,  Sept.  20,  1847, 
still  living,  1888.  Organist,  brother  and 
pupil  of  Marius  Brandts  Buys ;  went  in 
1874  to  Rotterdam  as  organist  and  conduc- 
tor of  Rotte's  Mannenkoor.  Works  :  Das 
Siugenthal  (Uhlaud),  for  baritone,  mixed 
chorus,  and  orchestra  ;  Petrus-Klage,  for 
baritone  with  orchestra  ;  De  vier  Jaargetij- 
den,  for  male  chorus ;  Songs  with  piano- 
forte.— Viotta. 

BRANDTS  BUYS,  MARIUS  ADRIANUS, 
born  at  Deventer,  Oct.  31,  1840,  still  living, 
1888.  Organist,  son  and  pupil  of  Cornells 
Alyander  Brandts  Buys  (born,  1812,  organ- 
ist and  musical  director  at  Deventer)  ;  since 
1864  organist  and  bell-player  at  Zutphen. 
Works :  Vater  unser,  for  chorus  and  solo 
voices  ;  Mailied,  for  3  female  voices ;  W^erk- 
mannslied,  for  male  chorus  ;  Een  Kerk,  for 
female  voices,  with  violin  and  pianoforte  ; 
Gegen  Unmuth,  3  sacred  songs  for  contralto, 
female  chorus,  and  organ  ;  Grabgesang,  for 
8  voices  ;  Wilhelmus  van  Nassouweu,  for 
organ  ;  Pianoforte  pieces,  and  songs,  tran- 
scriptions for  organ,  etc. — Viotta. 

BRASSAC,  RENE  DE  BEAEN,  Marquis 
DE,  French  composer  of  the  18th  century. 
Amateur  dramatic  composer,  ofiScer  in  the 
royal  army,  and  marshal  in  1769 ;  celebrated 
by  Voltaire  in  his  "  Temple  du  goilt." 
Works  :  L'Empire  de  I'Amour,  ballet,  given 
in  Paris,  Academic  Royale  de  Musique, 
1733  ;  Leandre  et  Hero,  opei-a,  ib.,  1750. 
—Fetis. 


326 


P.RASSEUU 


BRASSEUR  D-AMSTERDA]\I,  LE  (The 
Brewer  of  Arasterdaiu),  opcTa-comique  iu 
one  act,  text  by  de  Najac,  music  by  Jules 
Alary,  represented  at  Ems,  Aug.  19,  18G1. 
The  wife  of  M.  Vauberj^-,  believing  herself 
misunderstood  by  her  husband,  abandons 
herself  to  romantic  ideas,  but  is  finally  cured 
of  her  folly  by  Kaoul  de  Floriac,  who  proves 
to  be  the  friend  of  her  husbaud. 

BRASSEUR  DE  PRESTON,  LE  (The 
Brewer  of  Preston),  opura-comique  in  three 
acts,  text  by  de  Leuven  and  Brunswick, 
music  by  Adolphe  Adam,  represented  at 
the  Opera  Comique,  Paris,  Oct.  31,  1838. 
Daniel  Robinson  is  a  brewer  at  Preston,  in 
the  reign  of  George  II.,  at  the  time  of  the 
attempt  of  Edward,  sou  of  the  Pretender  ; 
and  the  plot  turns  on  the  confounding  of 
him  with  his  brother  George,  a  lieutenant 
in  the  royal  service,  who  so  closely  resem- 
bles him  as  to  render  the  two  scarcely  dis- 
tinguishable. It  is  one  of  the  most  popular 
of  Adam's  works.  An  English  version  was 
given  in  New  York,  March  28,  1S4G.— Pou- 
gin,  A.  Adam,  139. 

BRASSIN,  LOUIS,  born  at  Ais-la-Cha- 
pelle,  June  24,   1810,  <^^j4i^^ 

died    in    St.    Peters-  "^^ 

burg.  May  17,  1884. 
Pianist,  pupil  of  Mo- 
scheles  at  the  Conser- 
vatorium,  Leij^sic  ; 
made  several  concert 
tours  with  his  broth- 
ers and  pupils  Leo- 
pold and  Gerhard, 
was  instructor  at  Stern's  Conservatorium  in 
Berlin  iu  18(36,  at  the  Brussels  Conserva- 
toire in  1869-79,  and  afterwards  at  the 
Conservatorium  of  St.  Petersburg.  Works  : 
Der  Thronfolger,  operetta ;  Der  Mission- 
iir,  do.;  L'ecole  moderne  du  piano,  twelve 
etudes  de  concert  (Brussels,  Schott) ;  Grand 
galop  fantastique,  op.  5  (ib.) ;  Valse  caprice, 
op.  6  (ib.)  ;  do.,  op.  11  (ib.)  ;  Pri^-e,  op.  10 
(ib.) ;  Galop  fantastique,  op.  16  (ib.) ;  Grande 
polonaise,  op.  18  (ib.),  etc.  ;  Songs. — Fetis, 
Supplement,  i.  123  ;  Mendel. 


BRAULT,  ELIE,  French  composer,  con- 
temporary. He  is  the  author  of  Bachelier 
et  Alguazil,  opera-comique  in  one  act, 
played  at  the  Theatre  du  Chateau  d'Eau, 
Paris,  1880. 

BRAUN,  GEORG,  born  at  Eichstiidt  iu 
the  second  half  of  the  18tb  century.  Dra- 
matic composer,  and  German  comedian, 
author  of  the  music  of  the  following  operas, 
given  at  Gotha  in  1789-96  :  Julie  ;  Der 
ueiie  Herr  ;  Die  Jubel-Hochzeit.— Fetis. 

BRAUN,  JOSEPH,  born  at  Ratisbon  in 
1787,  died  ('?).  Pianist,  violoncellist,  and 
dramatic  composer  ;  he  was  musical  director 
of  several  opera  troupes  at  KOnigsberg, 
Dantzic,  Bremen,  Liibeck,  etc.  In  1826  he 
went  to  Philadelphia  to  conduct  an  operatic 
enterprise,  which  failed  in  1828  ;  having 
o'iven  and  played  iu  concerts  in  New  York, 
Baltimore,  and  other  cities  of  the  Union,  he 
returned  to  Germany  in  1830,  and  settled 
at  Bremen.  "Works:  Die  Wiinsche,  oder 
der  Priifungstraum,  fairy  opera,  given  at 
Konigsberg,  1825  ;  Die  lange  Nase,  comic 
opera,  Der  Kosak  uud  der  Freiwillige,  do., 
ib.,  1825  ;  Compositions  for  the  pianoforte, 
and  the  violoncello.— Fetis  ;  Mendel. 

BRAUN,  KARL  ANTON  PHILIPP,  born 
at  Ludwigslust,  Mecklenburg,  in  1788,  died 
C?)  Virtuoso  on  the  oboe,  son  and  pupil  of 
Jolianu  Friedrich  Braun  ;  entered,  in  1807, 
the  royal  orchestra  at  Copenhagen.  Works  : 
Symphony  for  grand  orchestra  ;  Overture 
for  do.  ;  Concerto  for  flute,  op.  2  ;  Quartet 
foi  2  flutes  and  2  horns,  op.  1 ;  Quartets  for 
flute,  violin,  viola,  and  bass,  op.  6  ;  Two 
quartets  for  flute,  oboe,  horn,  and  bassoon  ; 
Duos  for  flutes  ;  do.  for  oboes,  op.  3  ;  Duo 
for  oboe  and  bassoon  ;  Sonata  for  piano- 
forte and  oboe,  etc. — Fetis. 

BRAUN,  WILHELM,  born  at  Ludwigs- 
lust, Mecklenburg,  in  1791,  died  (?).  Vir- 
tuoso on  the  oboe,  son  and  pupil  of  Johanu 
Friedrich  Braun,  whom  he  succeeded  in 
1825  as  first  oboe  in  the  grand-ducal  or- 
chestra of  ]Mecklenburg-Schwerin,  having 
from  1809  been  a  member  of  the  royal  or- 
chestra iu  Berlin.     Works  :  Divertissement 


827 


BRAUT 


for  oboe,  op.  3  ;  Concerto  for  do.,  op.  12  ; 
yis  duos  for  oboes,  op.  1  ;  Graud  duo  for 
do.,  op.  23  ;  Two  quartets  for  strings,  op. 
13  ;  Divertissement  for  flute  and  quartet, 
op.  27  ;  Sonata  for  j^ianoforte,  ojs.  17  ;  In- 
troduction and  ijolonaise,  for  do.,  op.  26  ; 
Der  Trost,  cantata  for  soprano,  with  piano- 
forte, op.  22. — Fetis. 

BRAUT  VON  MESSINA,  DIE  (The  Bride 
of  Messina),  music  to  Schiller's  drama  of 
the  same  title,  for  chorus  and  orchestra,  by 
Sigismund  Neukoram,  comj)osed  at  St.  Pe- 
tersburg, 1808. — Allgem.  mus.  Zeitg.,  xsix. 
564. 

BRAUT  VON  MESSINA,  DIE,  overture 
to  Schiller's  drama  of  the  same  title,  in  C 
minoi',  for  grand  orchestra,  by  Robert  Schu- 
mann, op.  100,  composed  in  1850-51.  First 
performed  in  DUsseldorf,  March  13,  1851  ; 
in  Leipsic,  Nov.  6,  1851.  First  published 
by  C.  F.  Peters  (Leij)sic,  1851)  ;  edition  in 
score  by  Breitkopf  &  Hiirtel,  Schumann's 
"Werke,  Overturen,  etc..  No.  3. 

BRAVO,  IL,  Italian  opera  in  three  acts, 
text  by  Berettoui,  music  by  !Marliana,  repre- 
sented at  the  Theatre  Italieu,  Paris,  Feb.  1, 
1834.  Plot  original,  scene  in  Venice.  The 
work  was  not  successful,  though  it  contains 
some  good  numbers.  It  was  revived  in 
1855.  II  Bravo,  opera  in  three  acts,  text  by 
Gaetauo  Rossi,  music  by  Mercadante,  first 
represented  during  the  Carnival  of  1839,  at 
La  Scala,  Milan,  and  at  the  Thoatre  Italieu, 
Paris,  May  12,  1853.  The  libretto  is  made 
up  of  crimes  and  horrors,  but  the  score  has 
many  beautiful  passages.  The  finale  is  very 
dramatic.  Le  Bravo,  French  opera  in  three 
acts  and  four  tableaux,  test  by  ^fcmile  Bla- 
vet,  music  by  Gustave  Salvayre,  represented 
at  the  Opera  National  Lyrique,  Paris,  April 
18,  1877.  As  in  the  libretto  by  Berettoui, 
the  scene  is  in  Venice  and  the  name  of  the 
heroine  is  Violetta  Tiepolo,  but  the  plot  is 
different. 

BREDAL,  IVOR  FRIEDRICH,  born  at 
Copenhagen,  June  17,  1800,  died  there, 
March  25,  1864.  Viola  player  and  dramatic 
comjjoser,  pupil  of  Kuhlau  ;  when  still  very 


young  be  obtained  a  position  in  the  royal 
orchestra,  and  composed  a  concerto  for  vi- 
ola, a  concertante  for  do.  and  violoncello, 
aud  an  overture  for  orchestra.  In  1834  he 
became  Conzertmeister,  and  in  1850  chorus- 
master.  Other  works  :  Lucia  di  Lammer- 
moor,  opera  given  at  Copeuhagen,  1832  ;  Die 
Guerillas,  do.,  ib.,  1834  ;  Judas  Ischariot, 
scene  for  tenor  aud  orchestra ;  Resurrec- 
tion, an  Easter  hymn  ;  Some  church  com- 
positions.— Mendel,  Ergiiuz.,  46. 

BREE,  JOHANNES  BERNARDUS  VAN, 
born    iu   Amsterdam,   Jan.    29,    1801,   died 
there,  Feb.  14,  1857.     Dramatic  composer 
and  violiuist,  pupil  of  his  father  on  the  vio- 
lin, and  of  Bertelmau  in  composition  ;  spent 
his  youth  at  Leeuwarden,  and  at  the  age  of 
eighteen  returned  to  Amsterdam,  where  he 
entered  the  orchestra  of  the  Theatre  Fran- 
9ais,  and  in  1829  became   director  of  the 
FeUs-Meritis  Society.     In  1840  he  founded 
the  Cecilia  Club,   and  was  director   of  it 
and  of  the  music  school  of  the  Society  for 
the  Promotion  of  Music,  up  to  his  death. 
Order  of  the  Lion  ;  honorary  member  of  the 
Academy  of  St.  Cecilia,  Rome,  and  several 
other    societies.      Works :    Symphony    for 
grand    orchestra    (Amsterdam,    Theune    & 
Co.) ;  Concert  overture  (ib.)  ;  Festival  over- 
ture with  chorus,  performed,  Amsterdam, 
1836  (ib.) ;  Quartet  for  two  violins,  viola, 
and  bass  (Bonn,  Simrock) ;  Second  quartet 
for  do.  (Amsterdam,  Theune  &  Co.) ;  Third 
do.  (ib.)  ;  Solemn  mass  for  four  voices  and 
orchestra  (Rotterdam) ;  4  masses  for  three 
voices  and  organ   (Amsterdam,  Theune  & 
Co.) ;    Requiem    (ib.,    1848)  ;    The    Forty- 
eighth  Psalm  for  solo,  chorus,  and  orches- 
tra (ib.,   1851)  ;   Adoljjhe    au   tombeau   de 
Marie,  ballad  for  tenor  and  pianoforte  (ib.) ; 
Colomb,  ou  la  Ducouverte  de  I'Amerique, 
cantata  for  baritone  and  male  chorus  (ib.)  ; 
Lord  Byron,  do.  for  a  single  voice  ;  Le  Ban- 
dit,  opera,   given   at  The  Hague,   Theatre 
Fran(;ais,   about  1840 ;   Sapho,  Dutch    op- 
era,  Amsterdam,    1834  ;  Man  in  the  Four 
Stages  of  Life,  melodrama,  ib.,  1835  ;  He- 
roic Death  of  Speick,  do.,  ib.,  about  1850 ; 


BREMER 


Nimm  dich  in  Aclit,  German  opera,  ib.,  about 
1845.— I'etis  ;  Viotta. 
BREVIER,  JOHANN  BERNHARD,  bom 

in  Rotterdam  in  1830,  still  living,  1888. 
Pianist  and  orgauist,  piqail  at  the  Leipsic 
Conservatorium  of  Johanu  Sclnieider,  and 
after  his  return  to  his  native  city  organist  of 
the  Walloon  church  and  professor  at  the 
School  of  Music  of  the  Musical  Society  of 
the  Netherlands.  In  ISG'I  he  visited  Leip- 
sic with  his  wife,  a  distinguished  singer, 
appeared  with  her  in  concerts,  and  brought 
out  several  of  his  compositions  ;  in  18(53  he 
produced  in  Milan  his  first  concerto  with 
orchestra.  Works  :  Voyage  nocturne,  for 
pianoforte,  violin,  and  violoncello,  op.  4  ;  4 
characteristic  pieces  for  four  hands,  op.  7  ; 
Jagdlied,  for  pianoforte,  op.  9  ;  Rondo  ca- 
priccio,  op.  11  ;  Sonata  for  pianoforte,  op. 
13  ;  Quartet  for  pianoforte  and  stringed  in- 
struments, op.  16  ;  Knosjien,  six  pieces  for 
pianoforte  ;  2  concertos  for  pianoforte  with 
orchestra  ;  Judith,  oratorio. — Fetis,  Supple- 
ment, i.  125. 

BRENDLER,  ERICH,  died  at  Stock- 
holm in  1845  in  the  bloom  of  youth.  Dra- 
matic composer,  known  by  the  operas,  Ed- 
mund and  Clara,  and  The  Death  of  Spartara, 
given  in  Stockholm,  1845.  His  posthumous 
opera,  Ryno,  was  estimated  a  work  of  high 
artistic  value. — Fetis  ;  Mendel. 

BRESCIANI,  PIETRO,  born  at  Brescia 
(or  Padua?)  about  ISOG,  died  (?).  Dra- 
matic composer,  pupil  of  Antonio  Calegari. 
Works :  La  fiera  di  Frascati,  given  at  Ven- 
ice, 1830;  L'albero  di  Diana,  Trieste,  1832; 
I  promessi  sposi,  Padua,  1833. — Fetis ; 
Mendel. 

BREUER,  BERNHARD,  born  at  Co- 
logne in  1808,  died  (?).  Violoncellist,  pu- 
pil of  his  grandfather,  who  was  director  of 
music,  then  in  Berlin  of  Zelter,  of  Bernhard 
Klein  in  composition,  of  A.  Wilhelm  Bach 
on  the  organ,  and  of  Moritz  Ganz  on  the 
violoncello.  After  his  return  to  Cologne 
he  joined  the  orchestra  of  the  Stadtthcater, 
and  in  1839  visited  Pari.s,  where  he  studied 
counterpoint  under  Cherubini.     In  1845  he 


bought  the  musical  concern  of  Eck  &  Co., 
and  was  for  many  years  professor  at  the 
Rhenish  School  of  Music.  Works :  Die  Ro- 
senmiidchen,  opera,  given  at  Cologne,  1839  ; 
Lazarus,  oratorio  ;  Die  Sendung  des  Heili- 
geu  Geistes,  do.;  3  masses,  with  orchestra  ; 
Several  psalms,  with  do. ;  Requiem  mass  ;  2 
syrajihonies  for  orchestra ;  5  overtures  for 
do.;  4  string  quartets;  Trio  for  pianoforte, 
violin,  and  violoncello  ;  Duos  for  violins  ; 
Songs  ;  Part  songs  for  four  male  voices, 
etc. — Fetis  ;  Mendel. 

BREVAL,  JEAN  BAPTISTE,  born  in 
the  department  of  I'Aisne,  France,  in  175G, 
died  at  Chamouille,  near  Laon,  in  1825. 
Violoncellist,  pupil  of  Cupis  ;  made  a  brill- 
iant success  at  the  Concerts  Spiritnels,  when 
still  very  young,  was  a  member  of  the  or- 
chestra at  the  Opera  in  1781-180G,  and 
professor  at  the  Conservatoire  in  1796- 
1802.  After  1806  he  lived  for  some  j-ears 
in  Paris  and  Versailles,  then  retired  to  Cha- 
mouille. Works  :  2  oi)eras  ;  8  symphonies ; 
7  concertos  for  violoncello  ;  18  violin  quar- 
tets ;  21  trios  for  strings  ;  54  duos  for  vio- 
lins ;  6  do.  for  violin  and  viola  ;  6  do.  for 
flutes  ;  18  do.  for  violin  and  violoncello  ;  12 
do.  for  two  violoncellos  ;  18  soli  for  violon- 
cello ;  Method  for  do.  {Paris,  1804).— Fe- 
tis  ;  Mendel. 

BREVI,  GIOVANNI  BATTISTA,  Italian 
composer  of  the  second  half  of  the  17th 
centurj'.  He  was  organist  of  the  Cathedral 
of  Bergamo  in  1G73,  maestro  di  cappella  of 
the  cathedral,  1G99,  and  afterwards  of  S. 
Francesco,  Milan,  and  of  the  Churches  del 
Carmine  and  S.  Fedele.  Works  :  Bizarrie 
armoniche,  ovvero  sonate  da  camera  a  tre 
stromeiiti  col  basso  continuo,  op.  3  (Bo- 
logna, 1693)  ;  La  catena  d'  oro,  ariette  da 
camera  a  voce  sola,  op.  G  (Modena,  1696)  ; 
La  divozioue  canora,  op.  7  (Modena,  1699) ; 
Delire  d'  amor  divino,  o  cantate  a  voce  sola 
e  continuo,  op.  8,  lib.  i.  (Modena,  1695, 
Venice,  1706).  He  left  an  elementary  work  : 
Primi  elementi  di  musica  per  i  principianti 
con  alquanti  solfeggj  facili  (Venice,  1699). 
— Fetis  ;  Mendel ;  Schilling. 


BREWER 


BRE\YER,  TH0:MAS,  born  in  1609,  died 
in  1G7G  ('?).  Vocal  comjjoser  and  performer 
on  the  viol-da-gamba  ;  educated  at  Christ's 
Hospital.  Man}'  of  Lis  rounds  and  catches 
are  printed  in  Hilton's  "  Catch  that  Catch 
can" ;  he  also  composed  several  fantasias  for 
the  viol,  and  a  pretty  three-jjart  song.  Turn, 
Amaryllis,  to  thy  swain. —  Grove;  Fetis  ; 
Meudel ;  Gerber  ;  Schilling. 

BKICCIALDI,  GIULIO,  born  at  Terni, 
Papal  States,  March  1,  1818,  died  in  Flor- 
ence, 1882.  Flutist,  instructed  by  liis  father, 
then  self-taught  ;  went  to  Rome,  when 
quite  young,  and  entered  the  orchestra  of 
a  theatre  there,  studying  composition  at  the 
same  time  under  Ravagli.  He  was  only 
seventeen  when  appointed  professor  of  the 
Hute  at  the  Aceademia  di  Sta.  Cecilia.  In 
1836-39  he  was  in  Naples,  then  lived  in 
Milan  for  fifteen  months,  and  in  Maj-,  1841, 
plaj'ed  in  Vienna  with  great  success,  and  re- 
turned there  after  having  visited  the  batbs 
in  Bohemia.  He  met  with  extraordinary' 
success  in  England,  and  made  London  his 
principal  residence.  Works  :  2  concertos 
for  liute  and  orchestra  ;  Ballabile  di  con- 
certo for  do.,  op.  15  ;  Fantaisies  for  do.,  or 
for  flute  and  pianoforte,  on  operatic  themes, 
op.  17,  18,  24,  2.5,  27  ;  Morceaux  de  salon 
for  do.,  op.  3,  16,  21,  28,  30,  32,  etc.— Fctis. 

BRIDAL  OF  TRIERMAIN,  THE,  can- 
tata, text  and  music  by  Frederick  Corder, 
first  performed  at  the  Wolverhampton 
(England)  Festival  of  1886.  Subject  from 
Walter  Scott's  poem  of  the  same  name 
(1813).  The  work,  which  begins  with  a 
choral  introduction  in  place  of  an  overture, 
and  is  in  two  ])arts,  is  largely  in  narrative 
form.  The  music  is  vigorous  and  dramatic, 
and  the  cantata  was  one  of  the  successes  of 
the  year. — Upton,  Standard  Cantatas,  124. 

BRIDE  OF  DUNKERRON,  THE,  can- 
tata, text  Ijy  Frederick  Enoch,  music  by 
Henry  Smart,  first  performed  at  the  Bir- 
mingham (England)  Festival  of  1864.  Sub- 
ject, the  traditional  story  of  the  Lord  of 
Dunkerron,  a  castle  on  the  coast  of  Kerry, 
who  becomes  enamoured  of  a  sea-maiden. 


The  Sea-King  forbids  their  marriage,  dooms 
her  to  death  tor  loving  a  mortal,  and  drives 
him  from  his  realm  to  the  upper  world. 

BRIDE  OF  SONG,  THE,  English  oper- 
etta in  one  act,  text  by  Henry  Faruie,  nuisic 
by  Julius  Benedict,  represented  at  Covent 
Garden  Theatre,  Loudon,  Dec.  3,  1864. 

BRIDES  OF  VENICE,  THE,  English 
grand  opera  in  two  acts,  music  by  Julius 
Benedict,  represented  at  Drury  Lane  Thea- 
tre, London,  April  22,  1844. 

BRIDGE,  JOHN  FREDERICK,  born  at 
Oldbury,  England, 
Dec.  5,  1844,  still  liv- 
ing, 1888.  Organist, 
pupil  of  his  father, 
who  was  lay  clerk  of 
Rochester  Cathedral  ; 
organist  of  Trinity 
Church,  Windsor, 
1865,  of  jManchester 
Cathedral,  1869,  and 
of  Westminster  Ab- 
bey, 1875-81  ;  professor  of  harmony  and 
composition  at  the  Royal  College  of  Music. 
Mus.  Bac,  Oxford,  1868  ;  Mus.  Doc,  do., 
1874.  Works :  j\Iount  Moriah,  oratorio, 
1874  ;  Boadicea,  cantata,  1880  ;  Callirrhoe, 
do.,  1888.  Anthems  :  Magnificat  and  Nunc 
Dimittis,  in  D  ;  do.  in  G  ;  Give  unto  the 
Lord  the  glory  ;  It  is  a  good  thing  to  give 
thanks  ;  The  Lord  hath  chosen  Zion  ;  Seek 
ye  the  Lord  ;  We  declare  unto  you  glad  ti- 
dings ;  Hope  thou  in  the  Lord  ;  The  Offertory 
Sentences  as  used  in  Westminster  Abbey, 
1884  ;  Rock  of  Ages,  for  baritone  solo,  choi-- 
us,  and  orchestra,  1885  ;  Anthem  for  cele- 
bration of  Queen  Victoria's  Jubilee,  West- 
minster Abbey,  1887.  Part-songs,  and  songs. 
BRIDGE,  JOSEPH  COX,  born  in  Roch- 
ester, Kent,  England,  Aug.  16,  1853,  still 
living,  1888.  Organist,  brother  of  John 
Frederick  Bridge,  entered  as  a  chorister  in 
Rochester  Cathedral,  where  he  studied  un- 
der John  Hopkins  and  became  assistant  or- 
ganist. In  1870  he  became  assistant  to  his 
brother  at  Manchester  Cathedral ;  in  1871 
organist  of  Exeter  College,  Oxford,  and  in 


2.30 


BRIEGEL 


1877  organist  of  Chester  Catliedral.  B.A. 
Oxford.,  1875  ;  Mus.  Bac,  ib.,  187G  ;  :M.A., 
ib.,  1878;  Mus.  Doc, 
ib.,  1884;  Fellow  of 
the  College  of  Organ- 
ists, 1879.  Works: 
Daniel,  oratorio, 
Chester  Festival, 
18S.5(Novello&Co.); 
Magnificat  and  Nunc 
Dimittis  iu  C,  voice 
and  orchestra  (1879, 
id.)  ;  String  quartet  in  G  minor,  1870  ; 
4  arrangements  for  organ  from  Handel, 
Schumann,  and  Cramer  ;  6  original  organ 
pieces  ;  Bourrce  and  gigue  for  pianoforte  ; 
Polonaise  for  do.  ;  Dance  of  ISIummers 
for  do. ;  2  pianoforte  duets— No.  1,  Danse 
slav  iu  D  major,  No.  2,  do.  in  G  minor; 
Anthem  for  Harvest  Festivals  ;  do.,  O, 
that  men  would  praise  the  Lord.  Songs : 
O  moonlight  deep  and  tender  (S.  or  T.)  ; 
The  Steersman's  Song  (B.).  Part-Songs : 
It  was  a  lover  and  his  lass  (S.  A.  T.  B.)  ; 
The  Curfew  (do.) ;  Greek  War-Soug  (T.  T. 
B.  B.),  with  accompaniment  of  brass  instru- 
ments ;  Great  Britain's  Sons  (S.  A.  T.  B.)  ; 
Soldier,  rest !  (A.  T.  T.  B.). 

BKIEGEL,  WOLFGANG  KAEL,  born 
in  Germany  in  162G,  died  at  Darmstadt  in 
1710.  He  was  organist  at  Stettin,  and 
music  director  to  Prince  Friedeustein  iu 
Gotha  ;  in  1660  he  became  Kapellmeister 
to  the  Duke  of  Saxe-Gotha,  and  in  1670 
Kapellmeister  to  the  Landgrave  in  Darm- 
stadt, where  he  spent  the  rest  of  his  life. 
He  was  a  voluminous  composer  of  concer- 
tos, sonatas,  madrigals,  dance  music,  Lieder, 
psalms,  etc.,  published  between  1652  and 
1709.  His  Hymn  book  for  Darmstadt  ap- 
peared  in  1687.  A  full  list  of  his  works  is 
given  by  Gerber  and  Fetis. — Allgem.  d. 
Biogr.,  iii.  328  ;  Fi'tis  ;  Gerber  ;  Schilling. 

BRIGANDS,  LES,  opera-bouffe  in  three 
acts,  text  by  Henri  Meilhac  and  Ludovic 
Halevy,  music  by  Offenbach,  represented  at 
the  Varietes,  Paris,  Dec.  10,  1869. 

BRIGANDS,  by  Verdi.     See  Masnadieri. 


BRIGANTI,  I  (The  Brigands),  Italian  op- 
era in  three  acts,  text  by  Crescini,  music  by 
Mercadante,  first  represented  at  the  Theatre 
Italieu,  Paris,  March  22,  1836.  The  libretto 
is  an  adaptation  from  Schiller's  "  Die  Riiu- 
ber."  Mercadante  went  from  Milan  to  Paris 
to  be  present  at  its  production,  but  was  dis- 
aupoiutetl  at  its  reception.  Same  subject 
treated  by  Luigi  Arditi,  Milan,  1811. 

BRION  D'ORGEVAL,  EDOUARD  BAR- 
THELEilY,  born  at  Saint-Etienne  (Loire), 
May  13,  1833,  still  living,  1888.  Dramatic 
composer,  pupil  at  the  Marseilles  Conserva- 
toire of  Barsotti  on  the  pianoforte,  and  in 
harmony  of  Schoenagel.  He  then  studied 
under  his  uncle,  the  Abbe  Brion,  who  was 
maitre  de  chapelle  of  the  cathedral  at  Cham- 
bery,  and  in  1852  went  to  Paris  and  was  pu- 
pil, at  the  Consrevatoire,  of  Bataille,  Levas- 
seur,  and  Revial  in  singing,  and  of  Halevy 
in  counterpoint  and  composition.  Works : 
Le  meunier  de  Sans-Souci,  comic  opera,  giv- 
en at  Antwerp,  1861 ;  Le  Don  Juan  de  vil- 
lage, do.,  ib.,  1863  ;  Una  charge  de  dragons, 
do.,  Nantes,  1867  ;  Le  Chevalier  de  Cordes- 
sac,  do.,  Lille,  1868  ;  Ivan  IV.,  ou  les  Porte- 
glaives,  grand  opera,  Marseilles,  1876  ;  Due 
et  Paysan,  opera  comique,  one  act,  text  by 
Yvert,  Amiens,  1877  ;  Two  operettas  ;  Sev- 
eral masses  ;  Cantata ;  Motets,  choruses,  son- 
atas; Quintet,  etc. — Fetis,  Supplement,  i.l26. 

BRISSON,  FREDERIC,  born  at  Angou- 
leme  (Charente),  Dec.  25,  1821,  still  living, 
1888.  Pianist,  played  in  public  when  twelve, 
and  gave  lessons  when  fifteen  years  old.  He 
studied  harmony  under  Garaudi,  and  pub- 
lished his  first  composition  in  1840  ;  in  1846 
he  went  to  Paris,  where  he  has  since  been 
a  prominent  teacher  and  comjioser.  He 
published  :  Ecole  d'orgue  traitant  speciale- 
meut  de  la  soufflerie  et  contenant  38  exer- 
cises, 50  exeniples  et  20  etudes  (Paris). 
Works  :  Les  Ruses  villageoises,  operetta, 
1863.  Arrangements  pour  operas :  Guil- 
laume  Tell,  piano,  violin,  and  organ  ;  Robert 
le  Diable,  piano,  etc. ;  Reverie  for  piano- 
forte, op.  17  ;  Arabesque,  op.  19  ;  Caprice- 
etude,   op.   25  ;    do.,   op.   30  ;    L'Espaguol- 


BKISTOW 


Bolero,  op.  32  ;  Galop  Je  concert,  op.  36  ; 
Fantaisie  brillaiite,  op.  40  ;  Hjmne  triom- 
pbale,  op.  4:1  ;  Makouba,  dause  arabe,  op. 
42  ;  Caprice  uocturne,  op.  44  ;  Three  con- 
cert pieces,  op.  46  ;  Reverie  fantastique,  op. 
50  ;  Caprice  elegant,  op.  51  ;  Caprice  imi- 
tatif,  op.  55  ;  Valse  de  concert,  oj}.  59  ;  Fan- 
tasias, duos,  trios,  etc.,  from  operas. — Fetis, 
Supplement,  i.  127  ;  Mendel,  Ergiinz.,  48. 

BRISTOW,  GEORGE  FREDERICK, 
born  in  Brooklyn,  New  York,  Dec.  19,  1825, 
still  living,  1888.  Son  of  William  Richard 
Bristow.  He  was  a  violinist,  about  1836, 
in  the  orchestra  of  the  Olympic  Theatre, 
New  York  ;  and  in  the  New  York  Philhar- 
monic Society  from  its  organization  in  1842, 
for  more  than  forty  years.  In  1851-62  he 
was  conductor  of  the  New  York  Harmonic 
Societ}-,  and  later  of  the  Mendelssohn  Union. 
He  was  also  organist  of  several  churches 
in  New  York,  among  them  St.  John's,  St. 
George's,  Zion,  and  the  Church  of  the  Cov- 
enant, and  a  teacher  of  music  in  the  public 
schools  of  New  York  more  than  forty  years. 
His  compositions,  which  number  more  than 
sixty,  are  most  of  them  still  in  MS.  The 
following  are  the  more  important :  h'ip  Van 
Winkle,  ojjera,  produced  at  Niblo's  Garden, 
New  York,  Sept.  27,  1855  ;  Columbus,  an 
unfinished  opera,  the  overture  to  which  has 
been  given  in  New  York  several  times  since 
1857  ;  Praise  to  God,  oratorio,  1860  ;  Dan- 
iel, oratorio,  produced  in  New  York,  Dec. 
30,  1867  ;  5  symphonies,  of  which  the  Ar- 
cadian was  performed  in  New  York  by  the 
Philharmonic  Society,  Feb.  14, 1874  ;  String 
quartet,  in  F  ;  String  quartet,  in  G  minor  ; 
The  Great  Republic,  cantata,  with  orchestral 
accompaniment,  1880  ;  Pieces  for  the  vio- 
lin, the  pianoforte,  and  the  organ  ;  Christ 
our  Passover,  anthem  ;  Christmas  Anthem, 
1887  ;  Songs.  He  was  one  of  the  compilers 
of  Music  of  the  Church  (1852),  of  The  Can- 
tilena, for  Day  Schools  (1860),  and  of  The 
Cantata,  for  Day  Schools  (1866). 

BRISTOW,  WILLIAM  RICHARD,  born, 
of  English  parentage,  in  Kent,  England, 
February,    1803,    died    in   Brooklyn,    New 


York,  Aug.  13,  1867.  He  went  to  America 
in  1817,  performed  on  the  organ,  clarinet, 
and  trumpet,  and  was  noted  as  a  pianoforte 
teacher.  Among  other  works  he  composed 
5  masses,  and  7  sets  of  vespers  for  use  in 
the  Roman  Catholic  Church. 

BRITO,  ESTEBAN  DE,  Spanish  com- 
poser of  about  1625.  He  was  musical  di- 
rector of  the  Cathedrals  of  Badajos  and 
Malaga.  Works  :  Tratado  de  musica  ;  Mo- 
tetes  a  4,  5,  6  voces  ;  Motete,  Exurge  Do- 
mine,  4  voc. ;  Villancicos  de  Natividad.  His 
compositions,  which  are  in  MS.,  are  pre- 
served in  the  library  of  the  King  of  Portu- 
gal.— Fetis  ;  Mendel ;  Gerber. 

BRIXI,  FRANZ  XAVER,  born  at  Prague 
in  1732,  died  there,  Oct.  13,  1771.  Church 
composer,  pupil  of  Pater  Simeon  in  the  Pi- 
arists'  College  at  Kosmanos  ;  became  organ- 
ist at  St.  Gall's,  Prague,  then  at  St.  Nich- 
olas's, and  afterwards  choirmaster  at  St. 
Martin's,  finally,  in  1756,  Kapellmeister  at 
the  cathedral.  He  was  a  capital  contrapun- 
tist, and  did  much  towards  the  reform  of 
Catholic  church  music  ;  his  works  are  dis- 
tinguished for  originality  and  diversity  of 
ideas.  Works  :  52  grand  masses  ;  24  short 
do.  ;  Litanies,  vespers,  graduals,  ofiertories, 
and  oratorios  ;  Also  operas  and  operettas. 
— Dlabacz,  i.  224  ;  Fetis  ;  Mendel. 

BRIZIO,  PETRUCCI,  born  at  Mosca 
Lombarda,  Ferrara,  June  12,  1737,  died  at 
Ferrara,  June  23,  1825.  Dramatic  com- 
poser, pupil  of  Pietro  Beretta  ;  became  ma- 
estro di  caijpella  at  the  Cathedral  of  Fer- 
rara in  1784.  Works  :  Ciro  riconoseiuto, 
opera,  given  at  Ferrara  ;  I  pazzi  improvisati, 
opera  buffa,  ib.,  about  1770  ;  Masses  for  4 
voices  and  orchestra  ;  Psalms,  Te  Deums, 
litanies,  hymns,  etc.  ;  Stabat  Mater  ;  Pas- 
toral mass  and  Credo  for  Christmas,  with 
full  orchestra,  etc.- — Fetis. 

BRIZZI,  CARLO,  Italian  composer,  con- 
temjaorary.  He  is  the  author  of  L'  avaro, 
opera  buffa,  text  by  Romani,  represented  at 
the  Teatro  Brunetti,  Bologna,  May  19,  1877. 

BROCA  Y  RODRIGUEZ,  ENRIQUE 
ALEJO,   born  at   Madrid,   Feb.    17,    1843, 


.339 


BROCrTARD 


still  livinp:,  1888.  Violinist,  first  instructed 
by  one  Manuel  Pamfil,  then  j^npil  of  Isidore 
de  Vega  on  tbe  violin,  and  studied  harmony 
and  composition  at  the  Conservatorio.  He 
played  first  violin  in  the  orchestra  of  the 
Zarznela  in  1858-67.  Composer  of  masses, 
psalms,  motets,  overtures,  and  the  music  to 
several  zarzuelas. — Fetis,  Supplement,  i.  128. 

BROCHAED,  PETER,  born  in  Munich, 
Aug.  -4,  1779,  died  there  (?)  after  1811. 
Composer,  pujiil  of  Kleinheinz  and  of 
Streicher  on  the  pianoforte,  of  Held  and 
Friedrich  Eek  on  the  violin,  and  of  Schlccht 
in  composition.  In  1797-98  he  was  a  mem- 
ber of  the  theatre  orchestra  at  Munich, 
whither  he  returned  iu  1799  after  a  year  in 
Mannheim,  and  in  1804,  having  played  for 
two  years  in  the  court  orchestra  at  Stuttgart. 
"Works — Ballets  :  Der  Tempel  der  Tugend, 
Der  Dorf-Jahrmarkt,  Die  zwei  Wilden,  given 
in  Munich,  1800  ;  Der  Mechaniker,  ib., 
1806  ;  Der  dankbare  Sohn,  ib.,  1807  ;  Son- 
atas, variations,  ariettas,  cantatas,  etc. — Fetis. 

BROD,  HENRI,  born  in  Paris,  June  13, 
1799,  died  there,  April  5,  1839.  Virtuoso 
on  the  oboe,  pujjil  of  Vogt  at  the  Conserva- 
toire, where  he  won  the  first  prize  in  1819. 
He  played  the  first  oboe  in  the  orchestra  of 
the  Opera,  beside  his  master,  and  in  1832 
became  professor  at  the  Conservatoire.  In 
all  the  concerts  in  which  he  was  heard,  in 
Paris  and  abroad,  he  obtained  the  most 
brilliant  success.  L.  of  Honour,  1838. 
Works  :  Four  fantaisies  for  oboe  with  or- 
chestra or  pianoforte  ;  Nocturne  concertant 
for  oboe  and  pianoforte  ;  Bolero  for  do.  and 
orchestra  ;  Airs  varies  for  do.,  with  quartet ; 
Three  quintets  for  oboe,  flute,  clarinet,  horn, 
and  bassoon  ;  Grand  method  for  oboe,  etc. 
— Fetis  ;  Mendel. 

BRONNER,  GEORG,  born  in  Holstein 
in  1666,  supposed  to  have  died  in  1764  or 
1724?.  Dramatic  composer  and  organist. 
His  works  are  recorded  in  the  annals  of  the 
Hamburg  Theater,  of  which  he  became  di- 
rector in  1699,  soon  after  producing  several 
of  his  operas.  He  was  also  organist  of  the 
OUurch  of  the  Holy   Ghost   at  Hamburg. 


Works — Operas:  Echound  Narcissus,  1693  ; 
Venus,  1694  ;  Cei)halus  uud  Prokris,  1701  ; 
Philippus,  Herzog  von  Mailand  ;  Berenice, 
1702  ;  Victor  (music  for  3d  act),  1702  ;  Der 
Herzog  von  Normandie,  1703  ;  Der  Tod  des 
grossen  Pans,  1702.  He  published  also  a 
collection  of  cantatas  for  the  voice  alone 
(1690),  and  chorals  arranged  for  the  organ 
(Hamburg,  1716).— Allgem.  d.  Biogr.,  iii. 
361  ;  Fetis  ;  Mendel ;  Gerber  ;  Schilling. 

BRONSART,  HANS  VON,  born  in  Ber- 
lin, Feb.  11,  1830, 
still  Yiving,  1888. 
Pianist,  educated 
at  Dantzic  and  at 
Berlin  University  ; 
pupil  iu  harmony 
and  composition  of 
Dehn  in  Berlin, 
and  on  the  iiiauo- 
forte  under  Kullak, 
and  of  Liszt  at 
Weimar.  He  ac- 
quired fame  on  his  concert  tours  through 
Europe,  conducted  the  Euterpe  concerts  at 
Leipsic  in  1860-62,  the  concerts  of  the  Ge- 
sellschaft  der  Musikfreunde  in  Berlin  in 
1865-66,  and  became  intend  ant  of  the  Royal 
Theatre  at  Hanover  in  1867.  Works:  Trio 
for  pianoforte,  in  G  minor  ;  Concerto  for 
do. ;  Fnihlings-Fantasie,  for  orchestra  ;  Sex- 
tet for  stringed  instruments  ;  Christnacht, 
cantata,  jierformed  in  Leipsic  ;  Der  Corsar, 
ojiera  (MS.),  text  from  Byron  ;  Polonaise  in 
C  minor. — Mendel ;  Riemann. 

BRONSART,  Mme  INGEBORG  ^'ON, 
bom  of  Swedish  par- 
ents (Starek),  in  St. 
Petersburg,  in  1843, 
married  Hans  von 
Bronsart  in  1862.  Pi- 
anist, pupil  of  Liszt. 
Works :  Konig  Hiarne, 
opera ;  Jery  und  B;l- 
tely,  operetta,  text  after 
Goethe,  represented  at 
the  Grand-Ducal  Theatre,  Weimar,  April 
Pianoforte  music,  etc. 


26,  1873  ;  Songs  : 


BRONZE 


BRONZE  HORSE.  See  Gheval  de 
Bronze. 

BROS,  Don  JUAN,  born  at  Tortosa, 
Spain,  in   1776,  died  at  Oviedo,  March  12, 

1852.  Church  composer,  pupil  of  Queralt 
at  Barcelona,  where  he  soon  became  assist- 
ant maestro  de  cajjilla  at  Santa  Maria  del 
Mar,  and  organist  at  San  Severo.  In  1807 
he  obtained  the  position  of  maestro  de  ca- 
pilla  of  the  cathedral  at  Malaga,  was  in  the 
same  capacity  at  Leon  in  1815-23,  then  from 
1834  at  Oviedo,  whither  he  had  retired  af- 
ter 1823.  He  comjiosed  numerous  masses, 
psalms,  and  other  church  music,  among 
which  are  quoted  as  the  best :  3  Misereres 
■with  lamentations,  a  Te  Deum,  and  a  Re- 
quiem.— Fetis. 

BROSIG,  MORITZ,  born  at  Fuchswinkel, 
Silesia,  Oct.  15,  1815,  died  at  Breslau,  Jan.  24, 

1887.  Pupil  at  Breslau  of  Franz  Wolf,  whom 
he  succeeded  as  organist  of  the  cathedral  in 
1842.     He  was  made  Dom-Kapellmeister  in 

1853,  afterwards  assistant  director  of  the 
Royal  Institute  for  Catholic  church  music, 
and  instructor  at  the  university.  Doctor 
of  Philosophj',  and  member  of  the  Accade- 
mia  di  Sta.  Cecilia,  Rome.  Works  :  4  grand 
instrumental  masses  ;  3  short  do. ;  7  books 
of  graduals  and  offertories  ;  20  books  of 
organ  pieces  ;  Organ  book  in  eight  parts  ; 
Choralbuch,  etc. — Fetis  ;  ^Mendel ;  Rieniann. 

BROUSTET,  EDOUARD,  born  at  Tou- 
louse,   April   29,    1836,    still   living   there, 

1888.  Pianist,  pupil  in  Paris  of  Maleden 
in  harmony,  of  Camille  Stamaty,  Ravina, 
and  Henri  Litolfl",  with  whom  he  made  an 
extended  tour  abroad  as  far  as  St.  Peters- 
burg. After  his  return  he  brought  out 
several  of  his  compositions  in  Paris,  in  1871 
visited  Spain  and  Portugal,  and  settled  in 
his  native  city.  Works :  3  trios  for  piano- 
forte, violin,  and  violoncello ;  Sj'mphonie 
concertante  for  pianoforte  and  orchestra  ; 
Tarantella  for  do. ;  Concerto  for  do. ;  Grande 
valse  de  concert ;  Quintet  for  pianoforte  and 
strings  ;  Suite  for  string  instruments  ;  Fan- 
taisies,  romances,  t'tudes,  etc.,  for  pianoforte. 
— Fetis,  Supplement,  i.  129. 


BROWN,  OBADIAH  BRUEN,  born,  of 
American  parentage,  in  Washington,  D.  C, 
July  2,  1829,  still  living,  1888.  Pupil,  in 
Boston,  on  the  pianoforte  and  in  composi- 
tion of  J.  C.  D.  Parker  and  Carl  Hause,  in 
instrumentation  of  Carl  Zerrahn,  and  in 
singing  of  J.  Q.  Wetherbee  and  August 
Kreissmann  ;  also  attended  the  lectures  on 
counterpoint  of  Prof.  J.  K.  Paine.  In  1869 
he  went  to  Europe,  and  studied  the  piano- 
forte in  Leipsic  under  Louis  Plaidy,  and 
comj^osition  under  J.  C.  Lobe.  In  1860- 
69  he  was  teacher  of  music  in  the  State 
Normal  Schools  of  Bridgewater,  Framing- 
ham,  and  Salem,  Mass.;  and  he  has  also 
taught  music  in  the  public  schools  of  Bos- 
ton, Roxbury,  Chelsea,  Brookline,  Salem, 
and  Maiden,  where  he  is  teaching  at  pres- 
ent. He  has  been  organist  in  Boston  :  five 
years  of  the  South  Congregational  Church, 
eight  yeai-s  of  West  Church,  and  since  1876 
of  the  New  Jerusalem  Church.  He  has  con- 
ducted several  choral  societies,  among  them 
the  Maiden  Choral  Union,  and  has  acted  as 
musical  editor  for  several  music-publishing 
houses.  The  pianoforte  scores  of  Macken- 
zie's Rose  of  Sharon,  and  of  Gounod's  Mors 
et  Vita,  and  the  Holy  Vision  were  arranged 
by  him  for  Novello,  Ewer  &  Co.,  of  London, 
from  the  manuscript  orchestral  scores  which 
were  sent  from  England  for  the  purpose. 
Many  of  his  compositions  have  been  pub- 
lished under  the  pseudonyms  of  Ernest 
Leslie  and  Ferdinand  Mayer.  Works : 
Scherzo  for  orchestra,  first  jjerformed  in 
Boston,  1886,  in  MS.  Vocal  — Quartets  : 
How  beautiful  upon  the  mountains  ;  Thy 
sun  shall  no  more  go  down.  Trios  :  I  will 
lay  me  down  ;  The  Lord  will  comfort  Zion. 
Anthems :  Whoso  dwelleth  in  the  secret 
place  ;  Unto  Thee,  O  Lord.  Sacred  Songs: 
O  that  thou  had'st  hearkened  ;  Therefore 
the  redeemed  of  the  Lord  ;  Songs  and  part- 
songs. 

BRUCH,  MAX,  born  in  Cologne,  Jan.  6, 
1838,  still  living,  1888.  His  father  was  in 
government  employ,  his  mother  a  brilliant 
singer  who  watched  carefully  over  her  son's 


BRUCK 


early  musical  instruction.  He  studietl  bar- 
mony  nud  couiitei-point  at  Bonn  under  Brei- 
densteiu.  In  1852  he 
won  the  Mozart  schol- 
arship at  Fraukfort- 
ou-the-Main  for  four 
years,  and  continued 
his  studies  in  compo- 
sition under  Hiller, 
Breuniug,  and  Iteiu- 
ecke  at  Cologne. 
During  this  period 
he  set  to  music  Gei- 
bel's  Lorelei  (originally  written  for,  and 
partly  set  by  Mendelssohn).  Leaving  Co- 
logne about  1856,  he  made  long  -visits  to 
Leipsic,  Munich,  and  other  musical  centres. 
In  Munich  he  met  Geibel,  whom  he  at  last 
prevailed  upon  to  permit  the  performance  of 
his  Lorelei,  which  was  accordingly  brought 
out  in  IMauuheim,  and  later  in  Cologne. 
During  his  staj'  in  Mannheim  he  wrote 
some  of  his  best-known  works,  and  stud- 
ied dramatic  composition.  In  1865  he  was 
made  musical  director  of  the  Conzert-In- 
stitution  at  Coblentz,  and  in  1867  was  ap- 
pointed Kapellmeister  to  the  Prince  of 
Schwarzburg-Soudershausen.  In  1870  he 
resigned  this  post  to  go  to  Berlin,  where, 
and  at  Bonn  he  has  since  lived,  occupying 
himself  entirely  with  composition.  In  1883 
be  visited  the  United  States,  bringing  out 
his  Arminius  in  Boston.  He  now  stands  in 
the  front  rank  of  German  musicians.  If 
his  operas  have  been  mainly  unsuccessful, 
and  his  orchestral  works  and  chamber  mu- 
sic comparatively  inconspicuous,  his  compo- 
sitions for  chorus  and  orchestra  are  the 
basis  of  his  high  reputation.  He  stands 
to-day  as  the  foremost  representative  of  the 
epic  cantata.  His  best-known  and  most 
admired  works  are  his  Scenes  from  the 
Frithjof-fiaga  (which  first  established  his 
reputation),  his  Odt/sseus,  and  his  two  vio- 
lin concertos  in  G  minor  and  D  minor. 
Works  :  Scherz,  List  und  Rache,  operetta, 
op.  1,  given  at  Cologne,  1858  ;  Jungfrau 
von  Orleans,  ib.,   1851)  ;   Lorelei/,  romantic 


opera,  op.  16,  Mannheim,  1863  ;  Hermioiie, 
opera,    op.    10,    Berlin,    1872  ;    liOmischer 
Triumjjhgesang,  for   male  chorus  and  or- 
chestra, op.    19,  No.    1  ;   Das   Wessobruu- 
ner  Gebet,  Lied   der   Stiidte,    Schottlands 
Thriinen,    for   do.,    op.    19,   No.   2   (1862); 
Gesang  der  heiligeu  drei  Ki'mige,  for  do., 
op.   21;   Frilhjof,   for   do.,   op.   23   (1862); 
Salaniis,   for    do.,    op.    25  ;    Normanneiizug, 
for   do.,   op.   32  ;   Die  Flucht  der  heiligeu 
Familie,  for  mixed  chorus,  soli,  and  orches- 
tra, op.  20  (1863) ;  Sclwn  Ellen,  ballad  for 
do.,  op.  21:  (1869)  ;  Eomiache  Leicheufeier, 
for  do.,  op.  34: ;   Das  Lied   vom  deutschen 
Kaiser,  for  do.,  op.  37  ;    Odi/sseus,  for  do., 
Of).  41  (1871)  ;  Arminius,  oratorio,  for  do., 
op.  43  (1875),  Boston,  1883  ;  Das  Lied  von 
der  Glocke,  cantata,  for  do.,  of).  45  (1879) ; 
Acldlleus,  for   do.,   op.  50,   Rhenish   Music 
Festival,  Bonn,    1885  ;   Jubilate,  Amen,  for 
sojsrano  solo,  chorus,  and  orchestra,  op.  3  ; 
Die   Birken  nnd  die  Erlen,  for  do.,  op.  8  ; 
Die  Flucht  iiacli  Egypten,  for  do.  (female 
chorus),  op.  31,  No.  1  ;  Morgeustunde,  for 
do.,  op.  31,  No.  2  ;  Frithjof  auf  seines  Vaters 
Grabhiigel,  concert  scene  for  baritone  solo, 
female  chorus,  and  orchestra,  op.  27  ;  Bo- 
rate coeli,  for  mixed  chorus,  orchestra,  and 
organ  (ad  libitum),  Of).  29  ;  Kyrie,  Sanctus, 
Benedictus,    and    Agnus    Dei,  for    double 
choir,  organ,  and  orchestra,  op.  35  ;  Dithy- 
rambe,  for  tenor  solo,  chorus,  and  orchestra, 
op.  39  ;  Die  Priesterin  der  Isis  in  Rome,  for 
contralto,   with  orchestra,  op.  30  ;  5  songs 
for  mixed  chorus,  a  cappella,  op.  38  ;  4  male 
choruses,  op.  48  ;  First  symphony  for  full 
orchestra,  in    E-flat,  op.  28  ;  Second  do.,  in 
F  minor,  op.  36  ;    Third  do.,  in  E,  op.  51 
(1887)  ;  First  concerto  for  violin  and  orches- 
tra, op.  26  ;  Second  do.,  op.  44  ;  Rom.anze, 
for  do.,  op.  42  ;  Fantasia  on  Scotch  airs,  for 
do.,  op.  46  (1880)  ;  Kol  Nidrei,  after  Hebrew 
melodies,  for  violoncello  and  orchestra,  op. 
47  ;  Quartet  for  strings,  in  C  minor,  op.  9  ; 
do.,  in  E,  op.  10  ;  Trio  for  pianoforte,  violin, 
and  violoncello,  in  C  minor,  op.  5  ;  3  duets 
for  soprano  and  contralto,  with  pianoforte, 
op.  4  ;  4  terzets,  and  3  duets,  for  do.,  op.  6  ; 


BRUCK 


% 


Songs,  op.  7,  13,  15,  17,  18,  22,  33,  49  ;  and 
isiimoforte    nnisic,  op.  2  (4   liaiuls),  11    (2 
pianofortes),  12,  14. — Fotis,  Siipplument,  i. 
129  ;    Grove  ;    Mendel ;    Eiemanu  ;    Mus. 
Wocheublatt  (1870),  773,  787,  833. 
BRUCK.     See  Arnould  de  Bruek. 
BRUCKNEK,  ANTON,  born  at  Ansfeld- 
eu,     Uj)per     Austria, 
September,  1824,  still 
living,  1888,  in  Vienna. 
Organist,  first  instruct- 
ed bj'  bis  fatlier,  then 
cbieHj'  self-taught  and 
pupil    in    Vienna     of 
Secbter     in     counter- 
point,   and     at     Linz 
(18G1-63)     of     Otto 
Kitzler  in  eonipiosition. 
He    was    for     several 
years  organist  at  the  Monastery  of  St.  Flo- 
rian,  from  1855  at  the  Cathedral  of  Linz,  and 
in  1868  became  Sechter's  successor  at  the 
Imperial  Chajjel  in  Vienna,  when  he  was  also 
apijointed  professor  at  the  Conservatorium. 
In  1875  he  was  apj)ointed  lecturer  on  music 
at  the  university.     AVorks  :  8  symjihouies  ; 
3  grand  masses  ;  Te  Deum  ;  Graduals  and  of- 
fertories ;  Quintet  for  strings  ;  Germauen- 
zug,  for  male  chorus  ;  Other  works  for  do. 

BRUGGER,  Dr.  J.  D.  C,  born  at  Frei- 
burg, Breisgau,  Oct.  23,  1796,  died  (?).  Vio- 
linist, pujiil  of  Weiland  and  Moor  on  the 
violin  ;  professor  at  the  Gymnasium  of  Frei- 
burg, where  be  conducted  the  academical 
concerts.  Works :  German  mass  for  4  voices  ; 
Patriotic  songs  for  male  chorus  ;  Many  songs 
for  a  voice  and  pianoforte,  or  guitar. 

BRiiLL,  IGN.iZ,  born  at  Prossnitz,  Mo- 
ravia, Nov.  7,  1846,  still  living,  1888.  Pian- 
ist and  dramatic  composer,  puisil  in  Vienna 
of  Epstein  on  the  jiianoforte,  and  of  Rufi- 
natscha  and  Dessotf  in  composition.  He 
appeared  in  concerts  in  Vienna,  and  in  the 
large  cities  of  Germany,  with  increasing  fa- 
vour, and  was  especially  successful  in  Lon- 
don, where  he  played  in  twenty  concerts  in 
1878.  Work.s — Operas  :  Die  Bettler  von 
Samai'kand  (1864) ;  Das  (juldene  Kreuz,  giv- 


en  in   Berlin,    1875  ;  Der  Landfriede,   op. 

30,  Vienna,  1877  ;  Bianca,  Dresden,  1879  ; 
KOnigin  Marietta, 
Munich,  1883  ;  Das 
sleinerne  Herz,  Vien- 
na, 1888 ;  Im  AValde, 
Jagd  Ouvertiire,  for 


orchestra,  op.  25  ;  2 
serenades,  for  do., 
in  F,  op.  29  ;  in  E, 
op.  36  ;  Symphony, 
in  E  minor,  op.  31  ; 
Tanz-Suite,  for  do.,  oja.  54  ;  Overture  to 
Macbeth,  op.  46  ;  Two  concertos  for  piano- 
forte, op.  10  and  24  ;  Concerto  for  violin, 
op.  41  ;  Suite  for  pianoforte  and  violin,  op. 
42  ;  Sonata  for  violoncello  and  pianoforte, 
op.  9 ;  do.  for  2  pianofortes  (4  hands),  op. 

21  ;  do.  for  violin  and  pianoforte,  op.  48  ; 
Trio,  oj).  14  ;  Cycle  of  Tuscan  songs,  for 
mixed  chorus,  tenor  and   soi^rano  soli,  op. 

22  ;  Siisses  Begrabniss,  for  2  soprani,  tenor, 
contralto,  and  2  basses,  op.  23  ;  Der  drei 
Burschen  Lied,  for  mixed  chorus ;  Jagdlied, 
for  do.,  op.  26,  No.  1 ;  Gebt  mirvom  Becher, 
for  male  chorus,  op.  26,  No.  2  ;  Pianoforte 
pieces  (op.  6,  for  2  pianofortes)  ;  Songs. 

BRU3HEL,  ANTOINE,  born  in  the  Neth- 
erlands about  1480  (?),  died  about  1520  (?). 
He  was  one  of  the  most  distinguished  of 
Okeghem's  pupils,  and  of  the  composers  of 
the  second  (or  great)  Flemish  school.  He 
and  De  la  Rue  may  be  accounted  the  two 
greatest  contemporaries  of  Josquin  Depres. 
Although  his  rejiutation  was  wide-spread  in 
his  own  day,  nothing  is  now  known  of  his 
life.  As  a  composer,  if  he  lacked  something 
of  Josquin's  finish  of  st_yle,  he  was  yet  one 
of  the  strongest  of  his  time  ;  his  harmony 
is  peculiarly  fine.  Although  as  consummate 
a  master  of  counterpoint  as  any  composer 
of  his  time,  he  did  not  affect  the  enigmati- 
cal canons  and  mere  musical  puzzles  then  in 
vogue.  He  was  one  of  the  first  to  attempt 
the  feat  of  writing  for  twelve  real  voices  ; 
but  his  habitual  style  was  for  four  voices. 
His  masterpieces  were  the  missa  De  beata 
Virgine,   and   the  missa   De   A/n'y^.      Pub- 


liUU^vELLI 


lislied  works  :  Several  motets  in  "  Motetti 
xxxiii."  (Venice,  Petrucci,  1502),  and  iu 
"  Motetti  tlella  Coroua,"  lib.  i.  (Fossoin- 
broue,  Petrucci,  1514:),  and  some  cbausons 
in  Petrucci's  "  Cauti  B,"  and  "  Cauti  cento 
ciuquanta  "  (Venice,  1501  and  1503)  ;  Five 
masses,  viz.,  Je  n'ai  deuil,  Berzeretta  savoy- 
enne,  TJt  re  mi  fa  sol  la,  L'Homme  armc, 
Victimse  pasclialae  (Venice,  Petrucci,  1503)  ; 
Mass  De  Api'yf,  in  '■  Missarum  diversorum 
auctorum  liber  primus  "  (Venice,  Petrucci, 
1508)  ;  Three  masses,  viz.,  De  beata  Vir- 
gins, A  I'ombre  dung  buyssonet  (in  canon). 
Pro  defuuctis,  in  "  Liber  quindecim  missa- 
rum "  (Rome,  Andreas  de  Antiquis,  1510)  ; 
Patrem  from  the  mass  Villayge,  in  "  Frag- 
menta  missarum "  (Venice,  Petrucci,  no 
date)  ;  Two  masses,  viz.,  A  I'ombre,  etc., 
Festivals,  in  "  Liber  quindecim  missarum  " 
(Nuremberg,  Job.  Petrejus,  1538) ;  Mass 
Boutemps,  iu  '■  Missse  tredecim  "  (Nurem- 
berg, Grapheus,  1539)  ;  Pleui  sunt  cceli  and 
Qui  venit  iu  nomine  Domini,  in  Glarean's 
"  Dodecachordou  "  (Basel,  1547)  ;  Laudate 
Dominum,  (iu  Forkel,  ii.  629-647).  The 
twelve-voice  mass,  Et  ecce  terne  motus, 
and  some  other  works  are  in  MS.  iu  the 
Munich  Libi'ary  ;  many  MSS.  are  iu  the  ar- 
chives of  the  Pontifical  Chapel  at  Eome. 
Some  chansons  are  in  the  Cor.  Basevi  in  the 
Eiccardiaua  at  Florence. — Ambros,  iii.  240. 
BRUNELLI,  AXTONIO,  Italian  composer 
of  beginning  of  17th  century.  He  was  ma- 
estro di  cajipella  of  the  Cathedral  of  Prato, 
subsequently  of  S.  Miniato,  Florence,  and 
to  the  Grand  Duke  of  Tuscany.  He  was 
one  of  the  best  theoretical  vocalists  and 
contrapuntists  of  his  day.  "Works  :  Eser- 
cizi  ad  una  e  due  voci  (Florence,  1605)  ; 
Motetti  a  due  voci,  lib.  i.  (ib.,  1607)  ;  do. 
lib.  2  ;  L'  affettuoso  invaghito,  canzonette  a 
ire  voci  (ib.,  1608) ;  I  fiori  odoranti,  madri- 
gali  a  tre  voci,  lib.  1  (Venice,  1609)  ;  Le  fiam- 
mette  d'  iugeuio,  madrigali  a  tre  voci,  lib.  2 
(ib.,  1610);  La  Sacra. Can tica,  a  1-4  voci; 
Regole  e  dichiarazioni  di  alcuui  contrapunti 
doppj,  etc.  (Florence,  1610)  ;  Scherzi,  arie, 
canzonette  e  madrigali  a   1-3   voci,  lib.  3 


(Venice,    1614) ;    Fioretti   spirituali   a   1-5 
voci,  op.  15  (ib.,  1621).     Fetis  ;  Schilling. 

BRUNET'Jl,  GAiiTANO,  born  at  Pisa, 
Italy,  in  1753,  died  in  Madrid  in  1808. 
Violinist ;  pui^il  of  Nardini.  He  spent  the 
greater  part  of  his  life  at  the  Spanish  court, 
where  he  was  court  musician  to  Charles  IV. 
His  compositions,  which  number  more  than 
two  hundred,  consist  of  32  symphonies  for 
orchestra  ;  5  concerted  symphonies  for  dif- 
ferent instruments  ;  Two  books  of  composi- 
tions for  wind  instruments  for  horse  dances 
at  public  fetes ;  6  sextets  ;  32  quintets  ;  6 
quintets  for  violins,  etc.,  and  other  violin 
and  violoncello  music  ;  among  which  are  18 
sonatas  for  violin  and  bass. — Fetis  ;  jVIendel. 

BRUNETTI,  GIOVANNI  GUALBERTO, 
born  iu  Pisa,  Italy,  about  1760,  died  ('?). 
Dramatic  composer,  sou  of  Antonio  Bru- 
uetti,  maestro  di  cappella  at  Pisa,  whom  be 
succeeded  at  the  cathedral.  Works — Operas: 
Amore  imbratta  il  senno  (opera  bufta  in 
Neapolitan  patois),  Pisa,  1733  ;  Don  Pas- 
quino  (do.),  ib.,  1785  ;  II  Corrivo,  Naples, 
1736  ;  Lo  sposo  di  tre,  Marito  di  nessuua, 
Bologna,  1786  ;  Le  stravagauze  iu  campag- 
na,  Venice,  1787  ;  Bertoldo  e  Bertoldina, 
Florence,  1788  ;  Demofoonte,  1790  ;  Nozze 
per  invito,  ossia  gli  amanti  capricciosi, 
Rome,  1791  ;  Fatima,  Brescia,  1791.  Of 
bis  church  music,  his  Matines  de  la  Trinite, 
for  eight  voices,  is  considered  best. — Fetis. 

BRUNI,  ANTONIO  BARTOLOMEO, 
born  at  Coni,  Piedmont,  Feb.  2,  1759,  died 
there  in  1823.  Dramatic  composer  and  vio- 
linist ;  pupil  of  Pugnaui  for  violin,  and  of 
Spezzani  in  composition.  He  lived  in  Paris 
from  1771,  was  first  in  the  orchestra  of  the 
Theatre  de  Monsieur,  was  afterwards  con- 
ductor of  the  Opera  Comique.  "Works — Op- 
eras, all  jilayed  in  Paris  :  Coradin,  1786  ;  Ce- 
lestiue,  1787;  L'Isola  incantata,  1789  ;  Aze- 
lie,  1790  ;  Spinette  et  Mariiii,  and  Le  niort 
imagiuaire,  1791 ;  L'officier  de  fortune,  1792  ; 
Claudiue,  1794 ;  Le  mariage  de  J.  J.  Rous- 
seau, 1795  ;  Toberni,  ou  le  pecheur  suedois, 
1795  ;  Le  Major  Palmer,  1797  ;  La  rencontre 
en  voyage,  and  Les  sabotiers,  1798  ;  L'Au- 


BRUNNMULLER 


tear  dans  son  menage,  1799  ;  Augustine  et 
Benjamin,  ou  les  Sargiues  de  village,  1800  ; 
La  bonne  soeur,  1801 ;  Le  regue  de  douze 
heures,  1811 ;  Le  mariage  par  commission, 
1816  ;  Cadiclion,  ou  les  Bobemiennes,  1792  ; 
L'Esclave,  1800.  He  wrote  also  for  the  vio- 
lin four  sets  of  sonatas,  several  concertos, 
ten  quartets,  and  twenty-eiglit  duets,  which 
have  been  used  in  teaching  with  his  "  Mc- 
thode  de  Violou,"  jjublished  in  Paris  and 
Leipsic. — Fetis  ;  do..  Supplement,  i.  131. 

BRUNNMULLER  (B  r  o  u  n  e  m  ti  1 1  e  r) , 
ELIAS,  born  in  Germany  in  1666,  died  at 
Amsterdam,  Sept.  17,  1762.  Pianist  and 
violinist,  pujail  of  Scarlatti,  Lunati,  and 
Corelli ;  played  with  success  in  London, 
Paris,  and  at  many  Eurojjean  courts,  and 
settled  in  Holland,  first  at  The  Hague,  then 
at  Amsterdam.  Works :  Sonata  a  due  vio- 
lin! e  violoncello  con  organo,  ojJ.  1  ;  Simon 
van  Beaumont,  op.  2  ;  Toccata,  fugues,  cha- 
couue,  suites,  etc.,  for  pianoforte  and  organ, 
op.  3  ;  6  solos  for  violin  ;  6  do.  for  oboe  ; 
Fasciculus  musicus,  containing  toccatas,  soli 
for  oboe,  violin,  and  flute,  and  Italian  and 
German  melodies.  All  these  are  in  the 
library  at  Leyden. — Mendel,  Erganz.,  49. 

BRUSA,  GIOVANNI  FRANCESCO,  born 
in  Venice  about  the  middle  of  the  17th 
century,  died  probably  in  1740.  Dramatic 
comjjoser  ;  became  organist  of  the  Orga- 
netto  del  Palchetto  in  San  Marco,  1726,  and 
choirmaster  in  the  Conservatorio  degl'  In- 
curabili.  Works:  II  Trionfo  della  Virtu, 
given  in  1724 ;  Amor  eroico,  1725 ;  Medea 
e  Giasone,  1726.— Fctis. 

BRUTI,  VINCENZO,  Italian  composer,  a 
chef  de  musique  in  the  Italian  army,  contem- 
porary. He  is  the  author  of  Macco,  Italian 
opera  buffa,  given  at  the  Teatro  Brunelli, 
Bologna,  June,  1872  ;  Adina,  comic  opera, 
represented  at  Sangeuesio,  1877. 

BRYNE,  ALBERT,  Euglish  composer  of 
the  17tli  century.  Organist,  pupil  of  John 
Tomkins,  whom  he  succeeded  as  organist 
of  St.  Paul's  Cathedral,  London.  His  com- 
positions are  preserved  in  Boyce  and  Clif- 
ford, and  in  MS.  in  the  British  Museum.       | 


BRZOWSKI,  JOSEPH,  born  at  Warsaw 
in  1805,  still  living,  1888,  Pianist  and  dra- 
matic composer,  jjupil  of  Karl  Kurpinski ; 
became  musical  director  of  the  ballet  at  the 
Warsaw  Theatre  in  1832,  and  made  a  con- 
cert tour  through  Germany  and  France  in 
1837,  and,  with  his  daughter  and  pupil  Hed- 
1  wiga,  pianist,  to  Germany  in  1843.  Works  : 
Hrabia  Weseliuski,  Polish  oi:)era,  given  at 
Warsaw,  1833  ;  Fantastic  overture ;  Dra- 
matic symphony  ;  Quartet  with  jjianoforte  ; 
Quintet,  do.;  Requiem  for  soli,  chorus,  and 
orchestra ;  Pianoforte  j^ieces,  and  songs, 
duets,  etc. — Fetis,  Sujjplement,  i.  131. 

BUCHERON,  LE  (The  Wood  Cutter), 
opera-comique  in  one  act,  text  by  Guichard 
and  Castel,  music  bj'  Philidor,  first  repre- 
sented at  the  Comcdie  Italienne,  Paris,  Feb. 
28,  1703.     A  satire  on  loquacious  women. 

BUCHNER,    EMIL,   born    at    Osterfeld 
near  Naumburg,  Prussian  Saxony,  Dec.  5, 
1826,  still  living,  1888.     Pupil  at  the  Con- 
servatoriura,    Leipsic   (1843-46),  in   which 
city  he  continued  to  live  until  1856,  and 
whither  he   returned  as  musical  director  in 
1862,    having    meanwhile    conducted    the 
theatre   orchestras   at  Rostock,  Augsburg, 
Nuremberg,    Innsbruck,    and    Magdeburg. 
In   1865  he  became  Hof-Kapellmeister  at 
Meiningen.     Works  :  Dame  Kobokl,  opera, 
text  by  Theodor  Apel,  about  1860  ;  Konig 
Harald's  Brautfahrt,  cantata ;  Overture  to 
Schiller's    Wallenstein    (1867),    and    other 
overtures ;  Trio  for  pianoforte,  etc. ;  Songs. 
BUCK,    DUDLEY,    born,   of    American 
parentage,   in    Hart- 
ford, Connecticut, 
March  10,  1839  ;  still 
living,  1888.     Organ- 
ist, pupil   on   the 
pianoforte    of   W.   J. 
Babcock,  and  in    the 
Leipsic     Conservato- 
rium,  1858,  of  Plaidy 
and  Moscheles,  in  in- 
strumentation of  Ju- 
lius Rietz,  and  in  composition   of  Haupt- 
mann.     Aftei'    remaining    at    Leif)sic    for 


238 


BUHL 


eighteen  montlis,   he   became   a,   jjupil   on 
the  organ  of  Johaiin  Schneider   in    Dres- 
den,  and  again  of  Rietz  ;  and  in   18G1  lie 
went  to  Paris  and  studied  Frencli  music 
for  a  short  time.     Eeturniug  to  America  in 
18G2,  he  settled  first  in  Hartford,  where  he 
was  organist  of  the  Park  Church  ;  then  in 
Chicago  of  St.  James's  Episcopal  Church. 
In  1872  he  removed  to  Boston,  where  he  was 
appointed  organist  of  St.  Paul's  Church,  and, 
subsequently,  of  the  Music  Hall  Association, 
a  position  which  placed  him  in  charge  of  the 
great  Music  Hall  organ.    In  1875  he  was  or- 
ganist at  the  Cincinnati   May  Festival,  and 
during  the  same  year  went  to  New  York  as 
assistant  conductor  of  Theodore  Thomas's 
Central  Park  Garden  Concerts.    He  became 
also   organist   of   the   Church  of  the  Holy 
Trinity,   and  director  of  the  Apollo  Club, 
Brooklyn,  in  1875.     Works:  Legfiid  oi  Bon 
Muiiio,  cantata,  1874  ;  Faalm  46,  do.,  Handel 
and  Haydn  Society,  Boston,  187-t ;  Centen- 
nial  Meditation   of  Columbia,    do.,    1876 ; 
The  Nun  of  Nidaros,  do.,  1878  ;  The  Golden 
Legend,   do.,  1880  ;    Deseret,  comic    opera, 
1880  ;  Marmion,  symphonic  overture  for  or- 
chestra, 1880  ;   Voyage  of  Colamlnis,  1885  ; 
Light  of  Asia  (188G) ;  King  Olaf's  Christmas, 
1887 ;    Slav    Spangled    Banner,    overture, 
1888  ;  Easter  Morning,   for  mixed  voices ; 
Hymu    to   Music,    mixed   voices.      Church 
Music :    Motet    Collection,    1867 ;    Second 
Motet    Collection;     Morning    Service    for 
Episcopal  Church,  op.  25  ;  Evening  Service 
for  do.,  op.  31 ;  Christ  pur  Passover,  op.  29  ; 
There   were  shepherds ;    Hark,  what  mean 
these  holy  voices?,  op.  32  ;  Darkly  rose  the 
guilty  morning,  op.  33  ;  Morning  Service, 
op.  45  ;    Evening  Service,  op.  47  ;    Easter 
Anthem,  op.  46  ;  Christmas  Anthem,  op.  48  ; 
Special  Hymns  (8  numbers),  op.  43  ;  Three 
Anthems,  op.  72  ;    Te  Deum  and  Jubilate 
from  Schubert's  Mass  in  B-flat ;  O  Saviour, 
hear  me !  ;    A  Midnight   Service   for   New 
Year's  Eve.     Organ  :    Illustrations  in  Choir 
Accompaniment,  with  Hints  in  Registration, 
1877  ;  Grand  Sonata  in  E-flat,  op.  22  ;  Con- 
cert Variations  on  the  Star  Spangled  Ban- 


ner, op.  23  ;  Triumphal  JMarch,  op.  26  ;  Im- 
promptu Pastoral,  op.  27 ;  Eighteen  Pedal 
Phrasing  Studies,  op.  28  ;  Rondo  Caprice, 
op.  35  ;  Several  Transcriptions  and  Varia- 
tions ;  At  Evening,  Idylle,  op.  52  ;  Second 
Grand  Sonata,  in  G  minor,  op.  77;  The 
Organist's  Repertoire,  edited  by  D.  Buck 
and  A.  P.  Warren.  Pianoforte  music; 
Songs,  words  by  E.  C.  Stedman,  and  other 
Songs  ;  Dictionary  of  Musical  Terms  ;  The 
Influence  of  the  Organ  in  History  (1882). 

BUHL,  JOSEF  DAVID,  born  at  the  Cha- 
teau de  Chanteloup,  near  Amboise  (Indre-et- 
Loire),  of  German  parents,  in  1781,  died  at 
Versailles,  April,  1860.  Virtuoso  on  the 
trumpet,  studied  in  Paris.  He  was  pro- 
fessor of  the  trumpet  in  the  cavah-y  school 
at  Ver.sailles  in  1805-11,  conductor  of  the 
Garde  du  Corps  in  1824,  and  a  member  of 
the  orchestra  of  the  Opera  and  of  the  The- 
atre Italien  in  1816-25.  He  devoted  much 
time  to  improvements  in  his  instrument. 
L.  of  Honour,  1814.  Works:  Quicksteps 
for  wind  instruments  ;  16  marches,  quick- 
steps, etc.,  for  four  trumpets,  two  horns,  and 
trombone  ;  War-song  for  horns,  trumpets, 
and  trombone  ;  Duets  for  trumpets,  etc. ; 
Method  for  the  trumpet.^Fetis  ;  Mendel. 

BUHLER,  ABBE  FRANZ  (GREGOR), 
born  at  Schneidheim,  near  Augsburg,  April 
12,  1760,  died  at  Augsburg,  Feb.  4,  1824. 
Organist,  first  instructed  by  his  father, 
and  at  the  Abbey  of  Neresheim,  where  he 
became  a  chorister  in  1770,  pupil  of  Fa- 
ther IMayr  in  singing,  of  Father  Werk- 
meister  on  the  pianoforte,  and  of  Father 
Faulhaber  in  harmony  and  composition  ; 
then  at  Augsburg  pupil  of  Michael  Dimm- 
ler  on  the  organ  and  in  composition.  He 
was  organist  at  Mayngen  Monastery  for  a 
short  time,  and,  having  returned  to  Augs- 
burg, went  to  the  Convent  of  Benedictines 
at  Donauwerth  in  1778,  where  he  studied 
under  Neubauer  and  Rosetti,  was  made  a 
priest  in  1784,  and  called  as  Kapellmeister 
to  Botzen  in  1794  ;  he  obtained  from  the 
pope  his  secularization  in  1801,  and  became 
Kapellmeister  of  the  Cathedral  of  Augsburg. 


Bumi 


Works  :  Masses  with  organ  and  orchesti-a ;  28 
Vesper  hymns  ;  3  German  masses  for  three 
voices  and  orchestra  (Augsburg) ;  Psahns, 
Pauge  lingua,  Libera,  Eequieni,  Te  Deum, 
Vespers  ;  Several  collections  of  German  Lie- 
der  with  pianoforte  ;  Sonatas  and  preludes 
for  organ,  etc. — Fetis  ;  Mendel ;  Schilhng. 
BUmi,  GroSEPPE  MARIA,  born  at 
Bologna  towards  the  end  of  the  16th  cen- 
tury. Dramatic  composer,  pianist  and  vio- 
linist, and  poet ;  wrote  the  text  to  six  of  his 
operas.  Member  of  the  Accademia  Filar- 
monica,  1722  ;  principe  in  1730  and  1735. 
Works  :  L'  ipocondriaco,  given  in  Florence, 
1718 ;  II  Mago  deluso  dalla  magia,  Bo- 
logna, 1718 ;  La  pace  per  amore,  I  diporti 
d'  amore  in  villa,  ib.,  1719  ;  Gl'  inganni 
fortunati,  Filindo,  Armida  delusa,  Venice, 
1720  ;  Cleofile,  ib.,  1721 ;  Amore  e  maesta, 
ovvero  1'  Arsace,  Gl'  Inganni  felici,  Flor- 
ence, 1722  ;  Armida  abbandonata,  ib.,  1723  ; 
La  ninfa  riconosciuta,  ib.,  1724  ;  Adelaide, 
Bologna,  1725  ;  Gli  sdegni  cangiati  in 
amore,  Venice,  1725  ;  B  savio  delirante. 
La  vendetta  disarmata  dall'  amore,  Bo- 
logna, 1726  ;  Albumazar,  ib.,  1727  ;  Frene- 
sie  d'  amore,  ib.,  1728  ;  Teodorico,  Malmo- 
eor,  Amore  e  gelosia,  Chi  no  fa,  non  falla, 
Endimione,  ib.,  1729 ;  L'  Oi-tolane  eon- 
tessa,  II  podesta  di  Colognole,  La  maschera 
levata  al  vizio,  ib.,  1730 ;  Artanagamem- 
none,  Fidarsi  e  ben,  ma  non  fidarsi  e  me- 
glio,  Venice,  1731  ;  Gli  amici  de'  martelli, 
Bologna,  1734— Fe'tis  ;  Mendel. 

BULL,  JOHN,    born   in   Somersetshire, 

England,  in 
1563,  died  at 
Antwerp, 
March  12, 
1628.  Organ- 
ist, pupil  of 
William  Blithe- 
man,  in  the 
Chapel  Royal ; 
was  appointed 
organist  of  the 
cathedral  at  Hereford  in  1582,  and  afterwards 
master  of  the  children.     In  1585  he  was  ad- 


mitted a  member  of  the  Chapel  Royal,  and 
in  1586  received  the  degree  of  jMus.  Bac. 
and  in  1592  that  of  Mus.  Doc,  at  Oxford. 
Upon  the  recommendation  of  Queen  Eliza- 
beth he  was  appointed  professor  of  music  in 
Gresham  College,  1596,  which  position  he 
resigned  on  his  marriage  in  1607,  it  being 
tenable  by  statute  only  so  long  as  he 
remained  unmarried.  In  1601  he  went 
abroad  for  the  recovery  of  his  health,  and 
made  a  concert  tour  through  Holland, 
France,  and  Germany.  In  1611  he  was  in 
the  service  of  Prince  Henry,  and  in  1613 
went  to  the  Netherlands,  where  he  entered 
the  service  df  the  Archduke,  and  in  1617 
became  organist  of  the  Cathedral  of  No- 
tre Dame  at  Antwerp.  Of  his  composi- 
tions, said  to  number  more  than  200,  only 
a  few  have  been  printed  in  various  collec- 
tions ;  to  wit,  in  Barnard's,  Boyce's,  Leigh- 
ton's,  etc.  A  list  of  his  works  is  contained  in 
Ward's  "Lives  of  the  Gresham  Professors." 
To  him  has  been  attributed  the  composition 
of  the  national  anthem  God  save  the  King, 
but  the  question  still  remains  undecided. 
— Burney,  iii.  115  ;  Hawkins,  ii.  366  ;  Chap- 
pell,  Popular  Music  of  Olden  Time,  249,  698  ; 
Marpurg's  Beitrlige,  iv. :  Grove ;  Mendel. 
BULL,  OLE  (BOENEMANN),  born  at 
Bergen,  Norway,  Feb. 
5, 1810,  died  at  his  villa 
Lysoen,  near  Bergen, 
Aug.  17,  1880.  Violin 
virtuoso,  self-t  a  u  g  h  t, 
adopting  a  ilat  finger- 
board and  bridge,  and 
holding  his  instrument 
in  a  way  quite  bis  own. 
Paulsen,  a  Dane,  his 
first  teacher,  could  not  control  the  method 
of  his  pupil,  who,  at  ten  years  of  age,  would 
play  passages  which  his  teacher  found  too 
difficult.  Intended  for  the  clerical  profes- 
sion, but  failing  in  his  examinations,  his 
friends  arranged  that  he  should  direct  the 
Pliilliarmonic  and  Dramatic  Societies  (1828). 
In  1831  he  went  to  Paris,  where  he  suffered 
many  hardships,  but  experienced  the  most 


340 


BULOW 


exciting  of  his  musical  iinpicssioiis  in  listen- 
ing to  Piigiiniui,  who  afterwards  spoke  of 
Ole  Bull's  technique  as  masterful,  and  liis 
style  and  method  as  original  and  admirable. 
He  belonged  to  no  school,  unless  the  study 
of  song  in  Italy  may  have  helped  him  to 
know  his  own  powers  and  limitations.  The 
criticism  of  Joachim,  quoted  by  Bjornson, 
is  worthy  of  note  :  "  No  artist  in  our  time 
has  possessed  Ole  Bull's  poetic  power  ;  no 
one  has  ever  surpassed  his  inlaying  of  the 
adagio."  Mozart  was  the  composer  he 
most  cared  to  interj)i-et,  but  his  own  com- 
positions and  improvisations  best  brought 
out  his  mastery  of  the  instrument,  and  were 
demanded  by  the  public.  He  had  also, 
from  his  long  experience  and  close  study, 
acquired  a  full  knowledge  of  the  construc- 
tion of  the  violin,  and  was  a  judge  of  rare 
instruments.  Years  of  residence  in  the 
United  States  led  Ole  Bull  to  call  that 
country  his  "other  home."  Works:  Con- 
certo in  A  (1832)  ;  do.  in  E  minor  (1841) ; 
Quartetto  a  violino  solo  (1834) ;  Preghiera 
d'  una  madre  (1834)  ;  Polacca  guerriera 
(1834)  ;  Gruss  aus  der  feme  (1841) ;  Sicili- 
ano  6  tarantella,  Variazioni  di  bravura,  II 
Notturno  (1843) ;  Agiaco  Cubano,  Eecuer- 
dos  de  la  Habaua  (1844) ;  Niagara,  The  Sol- 
itude of  the  Prairies,  David's  Psalm  (1844) ; 
Memory  of  Washington  (184.5)  ;  La  Verbena 
de  San  Juan  (1847);  SaeterbesOg  (1848); 
The  Nightingale  (1867).— Sara  C.  Bull,  Ole 
Bull,  a  Memoir  (Boston,  1883). 

BtJLOW,  HANS  (GUIDO),  Baron  VON, 
born  at  Dresden, 
Jan.  8,  1830,  still 
living,  1888.  His 
father,  Eduard  von 
Biilow,  was  cham- 
berlain to  the 
Prince  of  Anhalt- 
De.ssau,  and  had 
some  reputation  as 
a  litterateur.  The 
j'oving  Hans  showed 
at  first  neither  taste  nor  talent  for  music, 
and  it  was  only  after  a  long  and  severe  ill- 


ness that  his  musical  gift  declared  itself. 
At  the  age  of  nine  he  began  studying  the 
pianoforte  under  Friedrich  Wieck,  and, 
two  j'ears  later,  harmony  and  counterpoint 
under  M.  K.  Eberwein.  In  1848  he  en- 
tered the  University  of  Leipsic,  to  study 
law,  but  also  continued  his  studies  in 
counterpoint  under  Hauptmann.  In  1849 
he  left  Leipsic  to  enter  the  University  at 
Berlin.  He  was,  at  the  time,  deeply  inter- 
ested in  politics,  and  contributed  to  a  dem- 
ocratic newsjjaper,  "Die  Abendjrost."  Here 
he  began  his  championship  of  the  new 
German  school  of  music,  and  of  the  ideas 
of  Wagner  and  Liszt.  In  1850,  after  hearing 
a  performance  of  Lohengrin,  conducted  by 
Liszt  in  Weimar,  he  determined  to  abandon 
the  law,  and  take  up  music  as  a  profession  ; 
hitherto  he  had  pursued  it  only  as  an  ama- 
teur. He  went  to  Ziirich  and  placed  him- 
self under  Wagner's  guidance.  In  18.51  ho 
went  to  Weimar  to  complete  his  study  of 
the  pianoforte  under  Liszt.  In  1853  he 
made  his  fii-st  concert  tour  to  Vienna,  Pesth, 
Dresden,  Carlsruhe,  Bremen,  Hamburg,  and 
Berlin,  meeting  with  unqualified  success 
wherever  he  appeared.  From  1855  to  18G4 
he  was  priucij)al  teacher  of  the  pianoforte  at 
Stern  and  Marx's  Conservatorium  in  Berlin, 
where  he  organized  symphony  and  chamber 
concerts,  contributed  political  and  musical 
articles  to  various  papers,  and  did  what  he 
could  to  helj)  the  propaganda  of  the  new 
school.  He  also  made  jDrofessional  trips 
through  Germany,  the  Netherlands,  and 
Russia,  appearing  both  as  pianist  and  con- 
ductor. In  18G4  he  was  appointed  chief 
conductor  at  the  Royal  Ojiera,  and  director 
of  the  Conservatorium  in  Munich.  It  w'as 
here  that  he  conducted  the  first  perform- 
ances of  Wagner's  Tristan  and  Die  Meister- 
singer.  His  labors  in  reorganizing  the  Con- 
servatorium, added  to  domestic  troubles, 
at  last  so  affected  his  health  that  in  1809 
he  retired  to  Florence,  where  he  lived  for 
several  years.  In  1873  he  made  a  visit  to 
Loudon,  and  in  1875-76  a  tour  through  the 
United  States.    Since  that  time  he  has  held 


241 


BITNDESLEID 


positions  as  conductor  in  several  German 
cities,  notably  in  Hamburg,  Hanover,  and 
Meiningeu.  His  concert  tours  witli  the 
Meiuiugeu  orchestra  have  been  esjjeeially 
famous.  Billow's  fame  as  pianist,  conduct- 
or, and  musical  writer  is  of  the  very  liigh- 
est  order.  His  memory  is  prodigious  ;  he 
plays  and  conducts  almost  everything  with- 
out notes,  and  his  repertory  includes  almost 
everything  of  importance  in  the  literature 
of  the  pianoforte  and  of  the  orchestra. 
Since  1870  his  open  championship  of  Wag- 
ner's works  and  doctrines  has  been  less 
noticeable  than  formerly.  Although  still  a 
warm  admirer  of  the  Bayreuth  master,  he 
has  of  late  devoted  his  energies  more  ex- 
clusively to  the  classic  composer.?,  especially 
Bach  and  Beethoven,  and  has  done  much 
to  further  the  Brahms  propaganda.  As  a 
composer  he  never  acquired  much  distinc- 
tion, but  his  musical  influence  has  alwaj'S 
been  ver^y  great.  His  original  composi- 
tions, as  far  they  have  been  published,  are  : 
Marche  heroique,  op.  3  ;  Innocence,  Album- 
blatt  for  juanoforte  ;  Die  Entsagende,  Lie- 
dercyclus,  for  voice  and  pianoforte,  op.  8  ; 
Music  to  Shakesjjeare's  JHliu.s  Csesar,  op. 
10  ;  Des  Sanger's  Fluch,  ballade  for  orches- 
tra, op.  16 ;  Ninvana,  symphonisches  Stim- 
mungsbild,  op.  20  ;  II  Carnovale  di  Milano, 
short  dance-pieces  for  pianoforte,  op.  21 ; 

Vier  Charakterstucke  fiir  Orchester,  op.  23  ; 
Two  Romances  for  mezzo-soprano  and  pi- 
anoforte, op.  26.  Among  his  pianoforte 
transcriptions  the  following  are  noteworthy : 
The  pianoforte  score  of  Wagner's  Tristan 
und  Isolde  ;  the  Vorspiel  to  Die  Meister- 
singer  ;  Berlioz's  overtures  to  Le  Corsaire, 
and  Benvenuto  Cellini.  His  instructive  edi- 
tions of  many  pianoforte  classics,  notably 
of  Beethoven's  pianoforte  works,  beginning 
with  opus  53,  are  universally  recognized 
models. 


BUNDESLIED  (Song  of  Federation), 
text  from  Goethe,  for  two  soli,  chorus,  two 
clarinets,  two  horns,  and  two  bassoons,  by 
Beethoven,  op.  122,  composed  in  1822. 
Published  by  Schott  (Mainz).  Sketch  in  a 
sketch-book  in  Royal  Library,  Berlin. — 
Thayer,  Verzeichuiss,  1-45  ;  Lenz,  Krit.  Kat- 
olog",  140. 

BUN(4ERT,  AUGUST,  born  at  Miilheim 
au  der  Rulir,  Rhenish  Prussia,  Jlarch  l-l, 
1846,  still  living,  1888.  Pianist,  pupil  of 
Hubert  Ferdinand  Kufferath,  then  studied 
for  three  year's  at  the  Conservatorium  in 
Cologne,  and,  with  interruptions,  for  four 
years  in  Paris  at  the  Conservatoire,  and 
under  Mathias.  In  1869  he  became  musi- 
cal director  at  Kreuznach,  and  in  1873  set- 
tled in  Berlin,  where  he  studied  counter- 
point and  fugue  under  Kiel.  Works  :  Die 
Studenteu  von  Salamanca,  comic  opera, 
given  at  Leipsic,  1884  ;  Overture  to  Tasso  ; 
Hohes  Lied  der  Liebe,  with  orchestra  ;  Pi- 
anoforte quartet,  op.  18  ;  Pianoforte  pieces, 
songs,  and  male  choruses.  — Mendel,  Ergiinz., 
50  ;  Riemanu. 

BUNNETT,    EDWARD,    born   at   Ship- 
ham,   Norfolk,    Eng- 
land, June  26,  1834, 
still  living,  1888.    Or- 
ganist,  pupil  of  Dr. 
Zechariali    Buck    at 
Norwich  Cathedral, 
of  which    he   was    a 
chorister  in  1842,  and 
assistant  organist  in 
1855-77.    He  became 
organist  of  St.  Peter's 
Church  in  1877,  and  organist  to  the  cor- 
poration of  Norwich  in  1880.     Mus.  Bac, 
Cambridge,   1856  ;   Mus.   Doc,   do.,    1869. 
Works  :  Song  of  Praise,  1869  ;  Rhineland, 
j  cantata   for  soprano  solo,   chorus,  and  or- 
chestra, composed  for  Mile  Tietjens,  Nor- 
I  wich  Festival,  1872  ;  Lora,  cantata,  text  by 
W.   W.  Turnbull,   1876  ;  Magnifieat,  Nunc 
dimittis,  Cautate  Domino,  and  Deus  mi.se- 
reatur,  1860  ;  Te  Deum  in  G  ;  Te  Deum  in 
1 P  ;  Benedictus  and  Jubilate  in  F  ;  Volume 


343 


BUNTE 


of  Chants,  Kyries,  Anthems,  etc.,  18(55  ;  Of- 
fice of  the  Holy  Commuuiou  iu  E,  1883  ; 
Anthems  ;  Songs  ;  Sonata  for  violin  and  pi- 
anoforte, 1873  ;  Trio  for  pianoforte,  violin, 
and  violoncello,  1873  ;  Pianoforte  music,  etc. 

BUNTE  BLATTER  (Variegated  Leaves), 
li  pieces  for  pianoforte,  by  Robert  Schu- 
mann, op.  99,  composed  in  1836-49  ;  dedi- 
cated to  Miss  Mary  Potts.  First  published 
by  F.  W.  Arnold  (Elberfeld,  1852)  ;  edition 
by  Breitkopf  &  Hartel,  Schumann's  Werke, 
Series  VIL,  vol.  vi.,  No.  33. 

BUNTE  REfflE  (Variegated  Series),  24 
pieces  for  violin  by  Ferdinand  David,  tran- 
scribed for  pianoforte  by  Liszt. 

BUONA  FIGLIUOLA,  LA  (The  Good 
Daughter),  ossia  La  Ceccliina,  Italian  opera 
buffa,  text  by  Goldoni,  music  by  Piccinui, 


BUONDELiSIONTE.    See  Maria  Stuarda. 

BUONOMO,  ALFONSO,  born  at  Naples, 
Aug.  12,  1829,  still  living,  1888.  Dramatic 
composer,  pupil  at  the  Conservatorio,  Na- 
ples, of  Achille  Pistilli  iu  solfeggio,  of  Gio- 
vanni Donadio  on  the  pianoforte,  then  of 
Giuseppe  Polidoro  and  of  Luigi  Siri  on  the 
pianoforte,  of  Pietro  Casella  in  harmony,  and 
of  RatYaele  Polidoro  and  Alessandro  Busti  in 
sin"in"'.  Having  lost  his  voice,  he  studied 
composition  under  Giuseppe  Lillo.  Works  : 
Cicco  e  Cola,  given  at  Naples,  Teatro  Nuovo, 
1857  ;  L'  ultima  Domenica  di  Carnovale,  ib., 
1859  ;  Moualora  di  Chiaja,  ib.,  1862  ;  Osti 
e  nou  Osti,  ib.,  Teatro  Bellini,  1865  ;  Le 
Follie  amorose,  ib.,  1865 ;  Tizio,  Cajo  e 
Sempronio,  ib.,  Teatro  de  la  Fcnice,  1867  ; 
II  :\Iarito  geloso,  ib.,  Teatro  Rossini,  1871  ; 


first  represented  in  Rome,   1760  ;   and  iu   Una  Giornata  a  Napoli,  ib.,  Teatro  Nuovo, 


Paris,  at  the  Academie  Royale  de  Musique, 
as  La  bonne  lille,  Dec.  7,  1778.  The  li- 
bretto is  an  adaptation  of  Goldoni's  drama 
of  '■  Pamela,"  which  is  founded  on  Richard- 
son's romance  of  the  same  title.  One  of  the 
most  popular  buft'a  operas  ever  written,  it 
held  the  stage  throughout  Europe  for  many 
years.  Iu  Rome  it  was  played  in  all  the 
theatres,  great  and  small,  the  fashions  were 
"alia  Cecchina,"  and  inns,  shops,  coiffures, 
wines,  etc.,  were  named  after  her.  Pro- 
duced in  Paris  during  the  heat  of  the  quar- 
rel between  the  Gluckists  and  Piccinnists, 
it  met  with  a  brilliant  success,  in  spite  of 
the  sarcasms  of  the  former.  It  is  said  to 
have  been  written  in  eighteen  days.  The 
opera  was  revived  iu  London  in  1814:,  for 
the  benefit  of  Madame  Catalani,  who  repre- 
sented Pamela  with  great  success. — Ho- 
garth, Memoirs,  ii.  134  ;  Desnoiresterres, 
Gluck  et  Piccinni,  173  ;  Giuguene,  Notice 
sur     .     .     .     N.  Piccinni,  10. 

BUONA  FIGLIUOLA  MARITATA,  LA 
(The  Good  Daughter  Married),  text  by  Gol- 
doni, music  by  Piccinni,  first  represented 
at  Naples,  1765,  and  at  the  Acadt'niie  Roy- 
ale  de  Musique,  Paris,  April  15,  1779.  The 
libretto,  a  sequel  to  La  buona  figliuola,  deals 
with  The  Good  Daughter's  married  life. 


1871 ;  Le  due  Maschere  ;  Bi-Ba-Bu.— Fetis, 
Supplement,  i.  133. 

BUONONCINL     See  Bononcini. 

BURALI-FORTI,  COSIMO,  Italian  com- 
poser, contemporary.  He  is  author  of :  Pic- 
carda  Donati,  opera,  given  at  Arezzo,  Oct. 
31,  1874  ;  La  Marchesella,  opera  buft'a,  ib., 
Dec.  24,  1876  ;  Le  teste  di  Gesso,  opera 
bufta,  ib.,  April  19,  1877  ;  Carmela,  opera 
seria,  ib.,  March  17,  1880. 

BURBURE  DE  WESEMBECK,  LfiON 
(PHILIPPE  MARIE),  Chevalier  DE,  born 
at  Termonde,  East  Flanders,  Aug.  16,  1812, 
still  living,  1888.  Distinguished  musical 
amateur,  studied  the  violoncello  at  Ghent 
under  de  Vigne,  who  was  a  pupil  of  Bau- 
diot.  He  founded  at  the  University  of 
Ghent,  a  musical  society.  La  Lyre  Acade- 
mique,  where  many  of  his  works  were  given  ; 
was  a  president  of  the  societies  of  Sainte- 
Cccile,  Amour  des  Arts,  Les  Chceurs,  and 
"£chos  de  la  Denche,  for  all  of  which  he 
wrote  many  choruses,  and  was  the  winner 
of  the  1st  prize  given  by  the  Society  des 
Arts,  des  Sciences,  des  Lettres,  of  Hainault, 
in  1840,  for  his  overture  of  Charles-Quint. 
The  town  of  Termonde  made  him  member 
of  the  Council  of  the  Church  of  Notre  Dame 
iu  1842,  when  he  became  interested  in  the 


243 


ErRCK 


work  of  classifying  and  recording  the  ar- 
chives of  that  collegium.  He  was  invited 
by  other  towns  to  undertake  the  same  work 
for  them,  and  in  the  coiu'se  of  it,  particularly 
while  at  Antwerp  (1846-53j,  he  made  valu- 
able additions  to  the  musical  history  of  the 
Netherlands.  He  was  made  administrator 
of  the  Academie  des  Beaux  Arts  at  Antwerp 
in  1858,  and  of  the  Roj-al  Academy  of  Bel- 
gium iu  18C2.  His  compositions  are  very  nu- 
merous, as  he  wi'ote  for  all  the  principal  mu- 
sical societies  of  Belgium.  They  consist  of 
choruses  with  and  without  accomjjaniment, 
romances,  melodies,  and  Lieder,  of  which 
fifty-six  were  published  in  Belgium  and 
Germany  iu  1834-50.  Church  music  :  Te 
Deum  ;  Stabat  Mater  ;  Litanies  to  the  Vir- 
gin ;  Ave  Maria ;  Tantum  ergo.  Orchestral 
nuisic :  Overtures  to  Jacques  d'Arteville, 
Quentiu  Matsys,  Godefroi  de  Bouillon,  Da- 
vid Teniers,  etc.  Choruses  and  cantatas  : 
The  Pirate's  Song,  De  Stag  by  Doggersbook, 
Lindanus,  with  accompaniment  ;  Les  mau- 
vais  gar<,'ons,  Art,  Patrie  et  Dieu,  Belgie, 
Flaudre  au  Lion,  Hymue  a  Sainte-Cecile, 
etc.,  without  accomp)auiment.  He  is  the  au- 
thor of :  "Aperyu  sur  I'ancienne  corporation 
des  musiciens  instrumeutistes  d'Anvers" 
(18G2)  ;  "  Recherches  sur  les  factures  des 
clavecins  et  des  luthiers  d'Anvers  depuis  le 
IGe  jusqu'au  19e  siecle  "  (Brussels,  1863)  ; 
"Notice  sur  Ian  Van  Ockeghem,"  in  Flem- 
ish (185G),  and  "Catalogue  historique  du 
Musce  d'Anvers." — Fctis  ;  do.,  Supj)lcment, 
i.  I3i  ;  Mendel. 

BUECK,  JOACHIM  VON,  born  near 
Magdeburg,  second  half  of  the  IGth  century. 
Organist,  cantor  at  Miilhausen,  and  one  of 
the  fifty-three  judges  cliosen  for  the  recep- 
tion of  the  organ  at  Groningen,  iu  1596. 
"Works  :  Passion  Christi,  nach  dcm  4  Evan- 
geslisten  auf  dem  teutschen  Text,  etc.  (Er- 
furt, 1550  and  1557,  Wittenberg,  1568)  ; 
Harmonise  sacra;  tam  viva  voce,  quam  in- 
struinentis  musiois  cantatu  jucunda^  (Nu- 
remberg, 15GG) ;  IV  Decades  senteutiosorum 
versuum  (15G7)  ;  Cantiones  sacra-  4  vocum 
(Miilhausen)  ;  Symbolum  aijostolicum  Nic;c- 


um,  Te  Deum  laudamus,  etc.,  mit  4  Stim- 
men  (1569)  ;  XX  geistliche  Odeu  auf  Villa- 
i  nellen  Art  gesetz,  1st  part  (Erfurt,  1572)  ; 
Idem,  2d  part  (Miilhausen,  1578)  ;  Sacrae 
cantiones  plane  novse  ex  vet.  et  novo  Testa- 
mento  a  4  vocum  (Nuremberg,  1573)  ;  Odie 
sacriB  Ludovici  Hemboldi  Mulhusini  suavi- 
bus  harmoniis  ad  imit.  italicaruin  villaue- 
siarum,  uusquam  in  Germania  linguii'  latinse 
antea  accommodatarum  (Miilhausen)  ;  Heb- 
domas  div.  instituta  sacris  odis  celebrata, 
lectionumque  scholasticarum  intervallis,  etc. 
(Miilhausen,  1560). — Futis  ;  Gerber  ;  Men- 
del ;  Winterfeld,  Der  evang.  Kirchengesang, 
i.  397. 

BUEGEL,  CONSTANTIN,  born  at  Lie- 
bau,  Silesia,  June  24,  1837,  still  living, 
1888.  Instrumental  composer,  pupil  of 
Brosig  at  Breslau  and  of  Kiel  iu  Berlin, 
where  he  afterwards  taught  the  i^ianoforte 
at  Kullak's  Academy  (1869-70).  He  is  liv- 
ing there  now  as  teacher  and  composer. 
Works  :  Two  sonatas  for  pianoforte  ;  So- 
nata for  violin  ;  Suite  and  variations  for  pi- 
anoforte ;  Fantasiestiicke  for  do.  ;  Quintet 
for  do.,  and  stringed  instruments  ;  Overture 
to  Sappho  ;  Symphonic  march,  etc. — Mendel. 

BLTIGIO  DI  VILL.4.FI0EITA,  Italian 
composer,  contemporary.  He  is  author  of 
II  Paria,  Italian  opera,  represented  at  the  Te- 
atro  Pergola,  Florence,  March,  1872  ;  Jolan- 
da,  opera  seria,  text  by  Interdonato,  Teatro 
Grande,  Brescia,  Feb.  20,  1879  ;  Le  notti 
romane,  opera  seria,  Adria,  Aug.  29,  1880. 

bueg:mullee,  (johann)  fried- 
rich  (FRANZ),  boru  iu  Eatisbon  in  180G, 
died  at  Beaulieu,  France,  Feb.  13,  1874.  Pi- 
anist, son  and  pupil  of  August  Friedrich 
Burgmiiller  (1760-1824).  He  went  to  Paris  in 
1832,  and  became  a  noted  teacher,  and  com- 
poser of  popular  pianoforte  nuisic.  Works  : 
La  Peri,  ballet  (1843)  ;  one  act  of  Lady 
Henriette,  ballet  (with  Flotow  and  Del- 
devez  as  collaborators)  ;  the  motif  for  a 
valse  for  Adolphe  Adam's  Giselle,  ballet, 
which  became  famous  as  La  Valse  de  Gi- 
selle. His  compositions  for  pianoforte 
number  nearly  one  hundred,  composetl  of 


■i4i 


BURGMULLER 


fautaisics,  caprices,  rondos,  etc. — Frtis  ;  do., 
Supplriiieut,  i.  134. — Alendel. 

BURGMULLER,  NORBERT,  boru  iu 
Dusseldorf,  Feb.  8,  1810,  died  iu  Aix-la- 
Cbapelle,  May  7,  1836.  His  father  was  Mu- 
sik-Director  at  Diisseldorf,  and  one  of  the 
founders  of  tbe  Lower  Rhine  Festivals. 
Norbert's  musical  education  was  begun  at 
home,  and  continued  under  Spohr  and 
Haujitmann  at  Cassel.  He  was  of  a  weak 
constitution,  and  died  before  he  had  reached 
his  full  development,  leaving  an  overture 
and  parts  of  two  sj'mphonies,  one  of  which 
was  completed  by  Schumann,  who  was  his 
warm  admirer.  There  is  little  doubt  that, 
had  he  lived,  he  would  have  risen  to  a  very 
high  rank  as  a  composer.  Besides  these 
works,  a  pianoforte  concerto  and  some  fugi- 
tive pieces  have  been  published  by  Kistner. 
— Schumann,  Ges.  Sclir.,  iii.  145  ;  Mus.  and 
Musicians,  i.  172  ;  Burgiuiiller's  posthumous 
compositions,  Leipsio  Signale,  July  7, 18G4. 

BURGSCHAFT,  DIE  (The  Security),  Ger- 
man opera  in  three  acts,  test  by  an  unknown 
writer  after  Schiller's  ballad  of  the  same 
name,  music  by  Franz  Schubert,  uutiuished. 
Schubert  wrote  fifteen  numbers,  including 
the  first  two  acts  and  one  air  and  chorus 
in  the  third  act.  The  :MS.,  dated  May  2, 
181G,  is  in  Herr  Dumba's  possession,  and  no 
part  of  it  has  been  jirinted.  Same  subject 
treated  by  Blumenroder,  Germany,  1824  ; 
by  Franz  Lachner,  text  by  von  Biedeufeld, 
Pesth,  1828  ;  by  Lindpaintuer,  same  text, 
Stuttgart,  Sept.  28,  1834  ;  by  G.  Hellmes- 
berger,  Hanover,  1848. — Hellborn  (Cole- 
ridge), i.  02  ;  Grove,  iii.  32G. 

BURMANN,  GOTTLOB  WILHEL:\r, 
born  at  Laubaii,  Silesia,  May  18,  1737,  died 
in  Berlin,  Jan.  5,  1805.  Pianist  and  organ- 
ist of  great  facility,  the  more  remarkable 
because  on  one  hand  he  had  no  ring-finger, 
and  another  finger  was  lame.  He  lived  in 
Berlin  in  very  narrow  circumstances,  for 
the  last  ten  years  of  his  existence,  paralyzed 
on  one  side.  He  was  also  a  talented  poet, 
and  wrote  the  words  to  most  of  his  songs. 
Works  :    Sis  pieces  for  pianoforte  (1771!) ; 


4  suites  for  do.  (1777)  ;  Harmonietten  oder 
Stiicke  fiir  Khivier  (17!)3)  ;  5  collections 
of  songs  (17G()-87)  ;  Winter-Uberlistung 
oder  deutsche  National  Lieder,  3  books  of 
songs  (1794)  ;  Lenzgefiihle,  do.  (1794)  ;  Die 
Jahreszeiten,  do.  (1795)  ;  G  do.  (1794)  ; 
Liederbuch  fiir  das  Jahr  1787,  etc. — Fctis  ; 
Mendel. 

BURNEY,  CHARLES,  born  in  Shrews- 
bury, England,  April 
7, 1726,  died  at  Chel- 
sea, April  12,  1814. 
He  was  educated  at 
the  free  school, 
Shrewsbury,  and  at 
the  public  school, 
Chester,  where  he 
studied  music  imder 
Baker,  organist  of 
the  cathedral  ;  later  he  was  a  pupil  of  his 
elder  brother  James  Burney,  organist  of  St. 
Mary's,  Shrewsbury,  and  in  1744-47  of  Dr. 
Thomas  Augustine  Arne,  in  London.  In 
1749  he  became  organist  of  St.  Diouis-Back- 
cliurch,  Loudon,  and  harpsichord  player 
at  the  subscription  concerts,  Cornhill.  He 
was  organist  of  Lynn  Regis,  Norfolk,  1751- 
60,  returned  to  London  in  the  latter  year, 
received  the  degree  of  Mus.  Doc.  fi"om  Ox- 
ford in  1769,  travelled  in  France  and  Italy 
in  1770-71,  and  in  Germany  and  the  Nether- 
lands in  1772,  and  on  his  return  to  London 
was  elected  a  fellow  of  the  Royal  Society 
iu  1773.  Dr.  Burney  published,  on  his 
return  from  the  Continent,  "The  Present 
State  of  Music  in  France  and  Italy  "  (Lon- 
don, 8vo,  1771)  ;  and  "  The  Present  State 
of  ]Music  in  German}',  the  Netherlands,  and 
United  Provinces"  (ib.,  2  vols.  8vo,  1773). 
But  he  is  best  known  by  his  "  General  His- 
tory of  Music,  from  the  Earliest  Ages  to 
the  Present  Period  "  (London,  4  vols.  4to, 
1776-89).  He  was  the  author  also  of 
"  Memoirs  of  the  Life  and  Writings  of 
the  Abbate  Metastasio  "  (ib.,  3  vols.  8vo, 
!  1796),  and  of  other  works.  In  1789  Dr. 
I  Burney  was  appointed  organist  of  Chelsea 
College,  where  he  spent  the  remainder  of 


34S 


BFROXI 


liis  life,  enjoying  the  intimate  acqiiaint;mce 
of  almost  every  eontempoi-ary  noted  in 
literature  auJ  iu  art.  Of  liis  eight  chil- 
dren, the  second  daughter  was  Mme  d'Ar- 
blay  the  novelist  ;  another  daughter,  Sarah 
Harriet,  was  also  a  novelist  ;  James,  the 
eldest  son,  became  a  rear-admiral  and  au- 
thor ;  and  Charles,  an  eminent  classical 
scholar,  critic,  and  bibliographer.  Dr. 
Burney's  musical  compositions  were  as  fol- 
lows :  Music  for  Mallet's  Alfred,  Mendez's 
Robin  Hood,  and  Queen  Mab,  Drury  Lane, 
1750  ;  The  Cunning  Man,  test  and  music 
adapted  from  Rousseau's  Deviu  du  Village, 
Drury  Lane,  1766 ;  2  sonatas  for  two  vio- 
lins and  bass,  1765  ;  Anthem,  with  over- 
ture, solos,  and  choruses,  Oxford,  1769  ;  6 
cornet-pieces  with  introduction  and  fugue 
for  organ  ;  12  canzonette  a  due  voci  in 
canone,  after  Metastasio  ;  6  duets  for  Ger- 
man ilutes  ;  6  concertos  for  violin,  etc., 
iu  eight  parts  ;  2  sonatas  for  pianoforte, 
violin,  and  violoncello ;  6  harjjsichord  les- 
sons ;  Anthems ;  Glees,  instrumental  music, 
etc. — Madame  d'Ai'blaj',  Memoirs  of  Dr. 
Burney  (3  vols.,  London,  1832) ;  Grove. 

BURONI  (Boroui),  ANTONIO,  born  in 
Rome  in  1738,  died  there  in  1797.  Dra- 
matic comjjoser,  j)upil  of  Padre  Martini  at 
Bologna,  and  of  Abos  at  the  Conservatorio 
della  Fieta,  Naples  ;  went  in  1765  to  Prague, 
and  in  1766  to  Dresden,  where  he  became 
musical  director  of  the  Italian  opera.  In 
1770  he  was  made  Hof-Kapellmeister  at 
Stuttgart,  and  in  1778  returned  to  Italy, 
living  alternately  iu  Venice,  Rome,  and 
Naples,  until  1785,  when  he  became  maes- 
tro di  cappella  at  St.  Peter's,  Rome.  Works : 
L'  amore  in  nuisica,  given  in  Venice  about 
1760  ;  Alessandro  in  Armenia,  ib.,  1762  ; 
Sofonisba,  ib.,  1764  ;  Le  villegiatrici  ridi- 
cole,  ib.,  1764: ;  Siroe,  Prague,  1765  ;  La 
Moda,  Dresden,  1769  ;  II  Caruovale,  Le  or- 
fane  suizzere,  ib.,  1769  ;  Ricimero,  Stuttgart, 
1773  ;  La  donna  instabile,  Artaserse,  ib., 
1776  ;  Eumeue,  ib.,  1778.— Fetis ;  Mendel. 

BURY,  BERNARD  DE,  born  at  Ver- 
sailles,  Aug.   20,   1720,  died  about   1790. 


Dramatic  composer,  pupil  of  Colin  de  Bla- 
mont ;  when  only  nineteen  he  became  ac- 
companist of  the  royal  chamber  music,  iu 
1744  maitre  de  musique,  and  in  1751  sur- 
intendant.  Works  :  Les  caracteres  de  la 
fohe,  ballet,  given  in  1743  ;  La  nymphe  de 
la  Seine,  divertissement  ;  Les  bergers  de 
Sceaux,  do. ;  La  Parque  vaincue,  do. ;  Jupi- 
ter vaiuqueur  des  Titans,  opera  (with  Bla- 
mont),  1745  ;  Titan  et  I'Aurore,  ballet,  1750  ; 
Hylas  et  Zelie,  do.,  1762  ;  Palmire,  do., 
Fontainebleau,  1765  ;  Zenis  et  Almasie,  do., 
ib.,  1766  ;  La  prise  de  Berg-oji-Zoom,  can- 
tata ;  De  Profundis,  motet  for  full  chorus. 
— Fctis;  Mendel. 

BUSBY,  THOMAS,  born  iu  Westminster 
in  1755,  died  in  Islington,  May  28,  1838. 
Organist,  j)upil  of  Battishill  in  1769-74. 
He  was  organist  successively  at  St.  Mary's, 
Newiugton,  and  at  St.  Mary  Woolnoth, 
Lombard  Street.  Mus.  Doc,  Cambridge, 
1800.  Works  :  The  Prophecy,  oratorio, 
1799  ;  Ode,  British  Genius  (by  Gray) ;  Ode 
to  St.  Cecilia's  Day  (by  Pope)  ;  Comala,  dra- 
matic romance  (from  Ossian),  1800  ;  Thanks- 
giving Ode  (degree  exercise),  1800  ;  Music 
to  Joanna  (drama  by  R.  Cumberland),  1800  ; 
Music  to  A  Tale  of  Mystery  (by  J.  Holcroft), 
1802) ;  Music  to  Rugautino,  or  The  Bravo 
of  Venice  (by  M.  G.  Lewis),  1805  ;  Music  to 
The  Fair  Fugitives  (by  Porter)  ;  Sonatas, 
anthems,  glees,  etc.  He  was  the  author 
also  of  "A  Dictionary  of  Music  "  (London, 
1786),  "  A  Grammar  of  Music  "  (ib.,  1818,  2d 
ed.,  1826),  "  A  General  History  of  Music  "  (2 
vols.,  ib.,  1819),  and  other  works. — Grove  ; 
Fetis  ;  Brown  ;  Lai'ousse  ;  Mendel. 

BUSNOIS,  ANTOINE  (Antonius  de 
Busne  ;  written  also,  Busnoys,  Busnoi.',  Bu- 
gnoy.s,  Bugniois,  Busna,  and  Bufua),  born  (?), 
died  in  1480.  His  birthplace  is  not  known. 
He  was  a  singer  in  the  chapel  of  Charles  the 
Bold  of  Burgundy  from  1467,  and  after- 
wards, 1477,  dean  of  the  town  of  Furnes. 
Busnois  was  one  of  the  greatest  composers 
of  his  day  ;  he  may  be  reckoned  with 
Faugues  and  a  few  others  as  belonging  to 
the  short  transition  period  between  the  first 


346 


liUSSCllOl' 


and  second  Flemish  schools.  He  was  a 
generation  younger  than  Diifay  and  Bin- 
chois,  and  was  a  contemporary  of  Okeghem. 
Tinctoria  dedicated  his  book,  "  De  natiua 
et  proprietate  tonorum  "  (1470),  to  Busnois 
and  Okeghem  together.  Of  Busnois's  com- 
positions but  little  is  preserved  :  Mass  Ecce 
aucilla  for  4  voices  (his  masterpiece)  ;  Two 
Regina  coeli,  an  arrangement  of  the  sequence 
Victimfe  paschala-,  a  Christmas  song  Noul, 
Noiil,  a  Magniticat  sexti  toni,  and  several 
motets,  all  for  i  voices,  and  motet  Anima 
mea  and  Magnificat  primi  toni,  both  for  3 
voices,  in  the  Brussels  Library.  Several 
masses  (among  them  one  on  L'Homme  ar- 
me)  are  in  Codex  14,  in  the  archives  of  the 


bat ;  Le  Depart  des  nu'nestrels  ;  La  Chasse 
au  cerf  ;  Le  Ghteur  national  ;  La  Vision 
fantastique  ;  Le  Cn'pviscule  du  matin  ; 
Bruges,  etc.  ;  Symphonies,  overtures,  mo- 
tets, etc. — Fc'tis  ;  Itiemann. 

BUSS  L"XD  REU,  aria  in  F-sharp  minor 
for  the  alto  of  Coro  I,  with  aeeonipaniment 
of  two  flutes  and  contiuuo,  in  Johann  Se- 
bastian Bach's  frt.s.'^ion  uach  Matthiius. 

BUSTILLO-ITURli.VLDE,  CESAREO, 
born  at  Valladolid,  Spain,  Feb.  2.5,  1807, 
still  living,  1888.  Church  composer,  pupil 
of  Fernando  Haikens  and  Angel  Martin- 
chique,  and,  after  an  interval  of  four  years 
(1824-28),  during  which  he  served  iu  the 
army,   of  Soriano  Fuortes   the  elder.      In 


Pontifical  Chapel  iu  Rome.     The  Maglia-  j  1832  he  became  maestro  de  capilla  of  the 
becchiaua  in  Florence  has   14  songs  in   a  cathedral   at  Toledo,   for  which   he  wrote 


codex  of  the  Fund.  Strozzi  (No.  53,  xix., 
No.  15G).  The  Paris  Library  has  two  songs 
for  3  voices :  Je  suis  veuu  vers  mon  ami, 
and  Chi  dist  en  pudicite,  madame.  The 
Codex  295  of  Dijon  has  17  songs  for  3 
voices,  and  two  for  2  voices.  Two  songs, 
Dieu,  quel  mariage,  and  Maintes  fenimes, 
are  in  the  "  Canti  centocinquanta"  (Venice, 
Petrucei,  1503). — Ambros,  ii.  463. 

BUSSCHOP,  JULES  (.\UGUSTE  GUIL- 
LAUME),  born  iu  Paris,  Sept.  10,  1810, 
still  living,  1888.  Composer,  entirely  self- 
taught  by  studying  the  theoretical  works  of 
Albrechtsberger  and  Reicha  at  Bruges, 
whither  his  parents  bad  returned  in  1816. 
His  patriotic  cantata,  Le  drapeau  beige,  re- 
ceived the  first  prize  in  1834.  Orders  of 
Leopold  and  of  the  Oaken  Crown.  Works  : 
Six  religious  songs  for  1-4  voices  and  or- 
gan ;  Ave  jVIaria  and  Tantum  ergo,  for  3-  or  4- 
part  chorus,  and  orchestra  or  organ  ;  Three 
religious  pieces  with  or  without  organ  ;  Ave 
verum  Corpus  ;  Ecce  panis  Augelorum  ;  O 
Sacrum  Couvivium,  choruses  for  2  tenors 
and  bass,  with  organ.  Choruses  with  and 
without  orchestra  :  L'fitendard  de  la  patrie  ; 
Le  Chant  de  Montagnards ;  La  Fete  ba- 
chique  ;  La  Priere  des  Conobites  ;  Le  Re- 
veil  des  pfitres  ;  Le  Charmes  de  la  valse  ; 
L'Hymne  de  la  unit ;  La  ilarche  au  corn- 


many  masses,  vespers,  litanies,  responses, 
motets,  canticles,  psalms,  etc.  Most  of  his 
compositions  are  for  two  choruses  and  full 
orchestra. — Fetis,  Supplement,  i.  135. 

BUTERA,  ANDREA,  born  iu  Sicily  about 
1826,  still  living,  1888?.  Dramatic  com- 
poser, pupil  of  Ruggi  at  the  Conservatorio 
of  Palermo.  Works :  Angelica  Veniero, 
opera,  given  at  Naples,  Teatro  del  Fondo, 
1846  ;  Atala,  do.,  Palermo,  1851.— Fetis. 

BUT,  OH  !  SAD  VIRGIN,  THAT  THE 
POW'R,  soprano  air  in  E  major,  in  Handel's 
h' Allegro,  il  Peuseroso,  ed  il  Moderato,  Part 

n. 

BUT  SOONER  JORDAN'S  STREAM, 
tenor  air  iu  C  minor  of  Jonathan,  in  Han- 
del's *(//,  Part  IL 

BUT  THE  LORD  IS  MINDFUL  OF 
HIS   OWN.     See  Dock  der  Herr. 

BUT  THOU  DIDST  NOT  LE.WE,  air 
in  A  major  in  Handel's  3Ief;siah,  Part  II. 

BUT  WHO  5IAY  ABIDE,  bass  air  iu 
D  minor,  in  Handel's  Ifessiah,  Part  I. 

BUTTSTEDT,  JOHANN  HEINRICH, 
born  at  Biudersleben,  near  Erfurt,  April  25, 
1666,  died  in  Erfurt,  Dec.  1,  1727.  Organ- 
ist, pupil  of  Johaun  Pachelbel  for  organ, 
harpsichord,  and  composition.  He  was  or- 
ganist of  the  i>rincipal  church  at  Erfurt  in 
1691.    Works  :  Three  canticles— AUein  Gott 


347 


BTTUS 


ill  tier  Hijh  sej-  Ehr  (1705),  Wo  flott  zum 
Haus  uicbt  giebt  seine  Guust  (1706),  and 
Zeucli  micli  dir  nacb,  so  lauffeu  wir  (1719)  ; 
Musikaliselie  Kunst-  iind  Vorratbskammer 
(1713)  ;  Four  masses,  in  Opera  prima  sacra 
(1720)  ;  Ut,  re,  mi,  fa,  sol,  la,  tota  musica  et 
harmonia  teterna,  etc.  (Erfurt,  without  date, 
probably  171G).  This  was  written  to  refute 
Mattheson's  Das  ueu  erijfifnete  Orchester. — 
Allgem.  d.  Biogr.,  iii.  662  ;  Fctis  ;  Gerber  ; 
Mendel ;  Schilling. 

BUXJS,  JACQUES  (Jachet)  DE,  born  in 
the  Netherlands,  beginning  of  the  16th  cen- 
tury. He  established  a  printing  office  es- 
pecially devoted  to  music  iu  Venice,  where 
he  was  known  as  lachet  or  Giachetto  Fla- 
mingo. In  1 54rl  he  was  elected  organist  of 
the  second  organ  of  S.  Marco,  Venice,  but  not 
being  adequately  paid,  he  demanded  leave 
of  absence  and  went  to  Vienna,  where  he 
accepted  a  post  under  the  Emjieror.  The 
Venetians  tried  every  device  to  make  him 
return,  the  ambassador  at  the  court  of  Vi- 
enna being  instructed  to  hold  out  all  kinds 
of  inducements,  but  de  Buus  remained  in 
Vienna.  He  is  sometimes  confounded  witli 
Jacqvies  Berchem,  then  in  the  service  of  the 
Duke  of  Mantua.  Works  :  Eicercari  da 
cantare  e  suonare  d'organo  e  alti  stromenti, 
lib.  i.  (1547),  lib.  ii.  (Venice,  1519)  ;  Can- 
zone francesi  a  sei  voci  (Venezia,  appresso 
I'autore,  1513) ;  Primolib.  di  motetti  (1549)  ; 
Canzone  francesi  a  5  (1550).  Other  works 
bearing  the  name  of  lachet  in  the  Italian 
collections  of  1538  to  1545,  and  in  Attaig- 
uant's  collections  of  1534  and  1535,  may  be 
his  or  lachet  Berchem's,  as  the  signature  of 
both  was  the  same.  In  the  4th  book  of 
motets,  published  in  full  by  lacques  Moderue 
at  Lyons,  in  1539,  some  motets  are  given 
under  the  name  of  Jachet,  others  under  that 
of  Jacques  Buus,  showing  that  iu  France 
Jachet  was  used  specially  for  Berchem. — 
Ft'tis;  Schilling. 

BUXTEHUDE,  DIETRICH,  born  in  El- 
sinore,  Denmark,  in  1637,  died  in  Liibeck, 
May  9,  1707.  His  father,  Johann  Buxte- 
bude,  was  organist  at  the  St.  Olai  Church 


in  Elsinore.  Under  whom  Dietrich  stud- 
ied is  not  known  ;  in  April,  1668,  he  was 
made  organist  at  the  Marienkirche,  Liibeck, 
and  bis  reputation  grew  rapidly.  In  1673 
be  instituted  the  "  Abendmusiken "  for 
which  Liibeck  was  famous  all  over  Ger- 
many even  down  to  the  19th  century. 
These  were  musical  services  consisting  of 
concerted  pieces  for  chorus  and  orchestra, 
and  organ  music,  given  between  four 
and  five  o'clock  p.m.  on  the  five  Sundays 
before  Christmas.  It  was  to  bear  these 
performances  that  J.  S.  Bach  walked  fifty 
miles  from  Arnstadt  to  Liibeck  in  1705. 
Buxtehude  was  one  of  the  most  famous 
organists  and  composers  of  his  day  ;  his 
greatest  strength  laj'  in  pure  instrumental 
composition,  that  is,  in  the  fugued  and  suite 
forms  ;  in  the  treatment  of  the  chorale  he 
was  surpassed  by  Pacbelbel  and  his  school. 
But  he  was  the  centre  of  musical  activity  in 
North  German}^,  and  as  an  organist  may 
be  considered  the  immediate  forerunner  of 
Sebastian  Bach.  Much  of  bis  music  has 
been  lost.  Tlie  following  is  a  list  of  his 
published  works  :  Unterschiedlicbe  Hoch- 
zeit-Arien  (Liibeck,  1672,  folio) ;  Fried-  und 
Freudenreiche  Hinfahrt  des  alten  Simeons, 
in  zwey  Contrapuncten  musikalisch  abge- 
sungen,  composed  on  his  father's  death, 
Jan.  22,  1674  (Liibeck,  folio,  1674) ;  Abend- 
Musik  in  ix.  Theilen  (Liibeck,  4to,  1678- 
1687)  ;  VII  Sonate  a  doi,  Violino  &  Viola  di 
gamba,  con  cembalo  (ib.,  folio,  1696)  ;  Hoeh- 
zeit  des  Lamnies  (ib.  1681)  ;  Anonymi  bun- 
dert  jiUiriges  Gedicbte  vor  die  Wolfahrt  der 
Stadt  Liibeck  ;  am  1  Jan.  dea  Jubeljabres 
1700,  in  S.  Marieiddrebe  musikalisch  vor- 
gestellet  (Liibeck,  folio,  1700) ;  Castrum  do- 
loris  dem  verstorbenen  Keyser  Leopoldo 
und  Templum  honoris  dem  regierenden 
Keyser  Josepho  I,  in  zwey  Musicken,  in 
der  Marienkirche  zu  Liibeck,  gewidmet 
(ib.,  folio,  1705) ;  Himmlisehe  Seelenlust 
auf  Erden  iiber  die  Menschwerdung  und 
Geburt  unsers  Heylandes  Jesu  Christi  (an- 
nounced in  the  Loipsic  Catalogue  for  the 
spring   of   1684) ;   Das  Allerschrocklichbte 


448 


BUZZI 


und  AllerfrcTilicliste,  uemlicli  das  Eiide  der 
Zeit,  und  der  Aufang  der  Ewiykeit,  Ge- 
sprilchsweise  vorgestellet  (id.,  ib.).  lu  later 
times  14  ChoralBearbeitungen  were  edited 
by  DeLu  (Leipsic,  Peters).  Separate  pieces 
are  2)ublisbed  iu  Commer's  "  Musica  Sacra,"' 
i.  No.  8  ;  G.  W.  Kiiruer  ;  Busbj-'s  "  Hist,  of 
Music  ;  "  A.  G.  Eitter's  "Kunst  des  Orgel- 
spiels." — Spitta,  Jobanu  Sebastian  Bacb,  i. 
2.52-308  ;  Mathesou,  Yollkoraniener  Kajiell- 
meister,  130. 

BUZZI,  ANTONIO,  born  in  Rome  about 
the  early  part  of  this  century.  Dramatic 
composer,  known  since  18-40  by  the  follow- 
ing works  :  Bianea  Ca2:)ello,  given  in  Rome, 
1842 ;  SaiU,  Ferrara,  1843  ;  II  convito  di 
Baldassare,  Milan,  Scala,  1853  ;  Ermingar- 
da,  Trieste,  Teatro  Grande,  1855  ;  Editta, 
Venice,  Teatro  della  Fenice,  1855  ;  Gusmano 
di  Medina,  Rome  ;  L'  indoviua,  Piacenza, 
1862  ;  La  lega  lombarda,  Spain  ;  I  due  Cia- 
battiui,  operetta,  Turin,  18G7;  Several  ballets. 
— Fetis  ;  do..  Supplement,  i.  135  ;  Mendel. 

BUZZING,  OTTAVIO,  Italian  composer, 
contemijorary.  He  is  the  author  of  L'  orfan- 
ella  di'  Gaud,  comic  opera,  represented  at  the 
Teatro  Aliprandi,  Modena,  March  13,  1880. 

BUZZOLA,  ANTONIO,  born  at  Adria  iu 
1815,  died  in  Venice,  March  20,  1871. 
Dramatic  composer,  pupil  of  his  father,  who 
was  maestro  di  cappella  and  organist  of  the 
cathedral  at  Adria,  and  who  sent  him  after- 
wards to  Venice  to  perfect  himself.  He 
jjlayed  there  first  violin,  then  the  flute,  in 
the  orchestra  of  the  Teatro  Fenice,  brought 
out  his  first  o2:)era,  and  in  1837  went  to  Na- 
ples to  study  for  two  years  under  Donizetti, 
returned  to  Venice,  where  he  brought  out 
two  more  operas,  then  visited  Germany, 
Poland,  a  jjart  of  Russia,  and  Paris,  and  re- 
tui-ued  to  Venice  in  184G.  In  1843-44  he 
conducted  the  ItaUan  opera  at  Berlin,  and 
in  1855  succeeded  Perotti  as  maestro  di 
cappella  at  San  Marco,  Venice.  Works  : 
Paramondo,  given  in  Venice,  Teatro  Gallo, 
183(5:  II  mastino,  ib.,  1840;  Gli  avventu- 
rieri,  ib.,  Teatro  Fenice,  1841  ;  Anileto,  ib., 
1847  ;   Elisabetta   di  Valois  (Don    Carlos), 


ib.  ;  La  i^uta  onorata ;  Masses,  requiem, 
cantatas,  ariette  veneziaue,  etc. — Fetis,  Sup- 
plement, i.  136  ;  Mendel ;  Riemaun. 

BYRD  (Byrde,  Bird),  WILLIA3I,  born 
iu  London  about  1538,  died  there,  July  4, 
1623.  He  is  sujiposed  to  have  been  the  son 
of  Thomas  Byrd,  a  gentleman  of  the  chapel 
of  Edward  VI.  He  studied  under  Tallis, 
and  was  senior  chorister  at  St.  Paul's  in 
1554  ;  in  1563-C9  he  was  organist  of  Lin- 
coln, after  which  he  succeeded  Robert  Par- 
sons as  gentleman  of  the  Chapel  Royal.  In 
1575  he  received  the  comjilimentary  title  of 
organist.  Byrd  was,  without  doubt,  one  of 
the  greatest  musicians  of  his  time  ;  his  har- 
mony is  pure  and  correct,  his  voice-leading 
graceful,  and  he  is  noticeable  beyond  most 
of  the  composers  of  his  day  by  the  frequency 
with  which  he  emploj's  tonal  responses  (in- 
stead of  real)  iu  imitative  and  fugual  forms 
of  composition.  Ho  was  probably  the  first 
Englishman  who  wrote  in  the  form  of  the 
madrigal.  He  was  intimate  with  the  elder 
Ferrabosco,  and  a  friendly  rivalry  existed 
betweeu  the  two  men.  The  canon  "Non 
nobis,  Domiue,"  so  familiar  iu  England,  has 
been  ascribed  to  Byrd  by  tradition,  but  it 
has  not  been  discovered  among  his  known 
works.  A  poem  iu  Blow's  "  Amphiou  An- 
glicus "  mentions  "  Bird's  Anthem  iu 
golden  notes,"  preserved  in  the  Vatican  ; 
the  canon  in  question  maj*  jjossibly  be  jiart 
of  it.  Besides  being  famous  as  a  composer, 
Byrd  was  probably  the  greatest  English 
organist  of  his  day.  Published  works : 
Three  masses  for  3,  4,  and  5  voices  respec- 
tively, probably  composed  betweeu  1553 
and  1558,  but  published  without  date  or 
name  of  printer ;  Cantiones  qu;ie  ab  argu- 
mento  sacree  vocantur  quiuque  et  sex  par- 
tium  (London,  1575  ;  the  volume  contains 
also  motets  by  Tallis)  ;  Psalms,  Sonets  and 
Songs  of  Sadnes  and  Pietie,  made  into 
niusicke  of  five  parts  (ib.,  1587) ;  Songs 
of  Sundrie  Natures,  some  of  Gravitie  and 
others  of  Myrth,  for  3,  4,  5,  and  6  voices 
(ib.,  1589)  ;  Liber  Primus  Sacrarum  Can- 
tionum  quinque  vocum  (ib.,  1589) ;    Liber 


•249 


CABALLERO 


Secundus  Sn,c.  Cant.,  etc.  (ib.,  15!)!) ;  Gra- 
dualia  ac  cantiones  sacrte,  qiiarum  alia  ad 
quatuor,  alise  vero  ad  quinque  et  sex  voces 
editae  sunt  (lib.  i.,  ib.,  1G07  ;  lib.  ii.,  ib., 
1610) ;  Psalms,  songs  and  souets :  some 
solemne,  others  joyfull,  framed  to  the 
life  of  the  words,  fit  for  voyces  or  violes  of 
3.4,  5  and  6  parts  (ib.,  1611).  Byrd  also 
contributed  to  the  following  works  :  "  Mu- 
sica  Transalpiua,  Madrigales  translated,  of 
foure,  five  and  six  parts  "  (London,  1588) ; 
"  Watson's  First  Sett  of  Italian  Madrigalls 
Englished "  (ib.,  1590) ;  "  Partlienia,  or 
the  Maiden-head  of  the  first  jNIusick  that 
ever  was  printed  for  the  Virginalls "  (ib., 
1600);  "  Leighton's  Teares  and  Lamenta- 
cions  of  a  Sorrowful  Soule,"  part-songs 
(ib.,  1014).  Many  of  his  \drginal  compo- 
sitions are  in  the  "  Virginal  Book  of  Queen 
Elisabeth  "  and  in  "  Lady  Nevill's  Virginal 
Book."  Some  of  his  services  and  anthems 
are  in  Barnard's  "  Selected  Church  Musick  " 
(1641),  and  Boyce's  "  Cathedral  Music  ;  " 
many  others  are  in  MS.  in  the  Aldrich, 
Hawkins,  and  Tredway  collections.  A  mass 
in  D  minor  and  the  "  Cantiones  Sacrse," 
lib.  i.,  are  republished  by  the  Musical  Anti- 
quarian Society,  the  former  edited  by  E.  F. 
Rimbault,  and  the  latter  by  W.  Horsley. 
—Grove,  i.  286. 


C>^ABALLERO,    (MANUEL)    FERNAN- 
.     DEZ,  born  at  Murcia,  Spain,  March 
^     14,  1835  ;  still  living,  1888.     Dram- 
atic composer,  pupil  at  the  Conservatorio, 
-  '        -,  Madrid,    of     Soriano 

§  ^  Fuertes  in   harmony, 

f6S«(°i«Si    ^^        and  of  Hilarion  Eslava 
f     /  ^W        in    composition,    for 

.  '-...JBW    V.  which  he  won  the  first 

prize  in  1857.  The 
following  zarzuelas  by 
him  were  given  at 
Madrid  :  Juan  Lanas ; 
La  jardinera  ;  El  Viz- 
conde  de  Letorieres  ;  El  cocinero ;  Fras- 
quito,  1867  ;  El  primer  dia  feliz,  1872  ;  El 


atrevido  en  la  corte,  1872  ;  La  revista  del 
diablo  ;  La  clave  ;  Las  hijas  de  fulano  ; 
Luz  y  sombra  ;  El  vejo  de  encaje  ;  La  gal- 
lina  ciega  ;  Las  nueve  de  la  noche ;  Entre 
el  Alcalde  y  el  Rey,  La  Marsellesa,  El  siglo 
que  viene,  1876.  He  composed  also  reli- 
gious music. — Fetis,  Supplement,  i.  137. 

CABALONE,  MICHELE,  born  in  Naples 
in  the  beginning  of  the  18th  century,  died 
there  in  1773.  Dramatic  composer,  known 
as  the  first  teacher  of  counterjjoint  of  the 
violinist,  Emmanuel  Barbella.  Works — Op- 
eras :  Alessaudro  nell'  ludie,  given  in  Na- 
ples about  1770  ;  Adriano  in  Siria.  The 
library  of  the  Conservatoire  of  Paris  pos- 
sesses the  MS.  of  his  oratorio.  La  Passion. 
— Fc'tis  ;  aieudel,  ii.  252. 

CABO,  FRANCISCO  JAVIER,  born  at 
Naguera,  Valencia,  Spain,  in  1768,  died  at 
Valencia  in  1832.  Organist,  first  at  Santa 
Cataliua,  then  at  the  Cathedral  of  Orihuela. 
Gifted  with  an  excellent  voice,  he  became 
in  1810  a  singer  in  the  Cathedral  of  Valen- 
cia, of  which  he  was  made  organist  in  1816, 
and  maestro  de  capilla  in  1830.  His  numer- 
ous comjjositions  consist  of  masses,  motets, 
vespers,  psalms,  and  other  religious  music. 
— Fetis,  Supph'ment,  i.  138. 

CACCINI,  GIULIO  (culled  Giulio  Ro- 
mano), born  in  Rome,  1558  or  1560,  died  in 
Florence,  1640.  He  studied  the  lute  and 
singing  under  Scipione  delta  Palla,  and  in 
1578  went  to  Florence,  where  he  stayed  until 
his  death.  In  1579  he  was  in  the  service  of 
the  Medici  court,  but  later  he  passed  into  the 
service  of  Giovanni  Bardi,  Count  of  Vernio. 
He  had  made  exhaustive  studies  in  counter- 
point, and  had  proved  himself  a  contra- 
puntist of  no  mean  talent  and  skill,  when 
he  became  inoculated  with  the  reformatory 
ideas  of  Bardi,  Cor.si,  Galilei,  and  the  otlier 
Florentine  music  reformers.  Grove  is  un- 
questionably wrong  in  saying  that  he  was 
"  neither  harmonist  uor  contrapuntist." 
Pietro  della  Valla  mentions  his  contra- 
puntal writings  (See  G.  B.  Doni,  ii.  251), 
and  before  IGOO  no  one  could  properly  be 
called  a  harmonist.     He  entered  enthusias- 


850 


CADAIIX 


tically  into  the  fight  against  counterpoint, 
and  to  him  and  Jacopo  Peri  is  due  the  estab- 
lishment of  the  stile  rappresentativo,  or  ex- 
pressive (dramatic)  style  of  composition  for 
a  single  voice  with  instrumental  accom- 
paniment. His  Nuorc  Musiche  (Florence, 
1(502)  was  an  epoch-making  work.  He  also 
worked  in  the  field  of  opera,  setting  Kinuc- 
cini's  Euridice  entire,  and  writing  other 
operas.  Grove  is  again  probably  wrong  in 
saying  that  he  had  anything  to  do  with  the 
composition  of  the  same  poet's  Dafae.  Cac- 
cini,  besides  being  a  composer  of  decided 
genius,  was  a  singer  of  great  repute  in  his 
day.  Works  :  Euridice  (Mareseotti,  IGOO)  ; 
II  RapimenU)  di  Cefalo  (parts  of  the  choruses 
by  Stefano  Venturi  del  Nibbio,  Piero  Strozzi 
and  Luca  Bati)  ;  II  Comhaltimento  d'  Apol- 
line  col  Serpente  ;  Le  Naove  Musiche  (Flor- 

ence,  Giorgio  Mareseotti,  1601,  Florentine 
style,  correctly,  1602). — Ambros,  iv.  1.59. 

'CADAUX,  JUSTIN,  born  at  Albi  (Tarn), 
Prance,  April  13,  1813,  died  in  Paris,  Nov. 
8,  1871:.  Dramatic  compo.ser,  pupil  at  the 
Conservatoire,  Paris,  of  Zimmermann  on 
the  pianoforte,  and  of  Dourlen  in  harmony  ; 
settled  at  Bordeaux  as  pianoforte  teacher, 
afterward  became  organist  of  the  Protestant 
church  in  Paris,  and  in  1866  was  made  chef 
de  copie  at  the  Opera,  but  could  not  endure 
the  strain  on  his  already  weakened  brain, 
and  was  finally  committed  to  the  asylum  of 
Picpus.  Works — Comic  operas :  Axel,  given 
at  Toulouse,  1834  ;  La  chasse  saxoune,  ib., 
1839 ;  Les  deux  gentilshommes,  Paris, 
Opera  Comique,  18-14:  ;  Les  deux  Jacquet, 
ib.,  1852  ;  Le  violon  de  Cremone  ;  Le 
Sicilien. — Fetis  ;  do.,  Supplement,  i.  138. 

CADEAC,  PIEEKE,  lived  about  the 
middle  of  the  16th  century,  at  Auch,  France, 
where  he  was  master  of  the  choristers. 
He  wrote  principally  masses  and  motets. 
Works :   Moteta   quatuor,    quinque   et   sex 


voc,  lib.  i.  (Paris,  1555)  ;  Missre  tres,  etc., 
ad  imit.  mod  ;  Ad  placitium  ;  Ego  sum 
panis ;  Levavi  oculos  (ib.,  1558)  ;  Missa 
cum  quatuor,  etc.,  ad.  imit.  mod. ;  Alma  Re- 
demptoris  condita  (in  a  collection  of  masses 
published  in  Paris)  ;  Miss;e  tres,  etc.,  on 
the  chanson  frauyaise,  les  Haut  Boys  (Paris, 
1558)  ;  and  motets  found  in  Quintus  liber 
Motettoriim  (Lyons,  1543)  ;  and  also  in 
Gardane's  xii.  Miss;e  (Venice,  1554)  ;  and 
in  a  col.  Missarum  Musicalium  (Paris,  1556), 
— Fetis;Chor.  etFay.,Biog.  desmus.,  i.  111. 

CADI  DUPi;,  LE  (The  Duped  Cadi), 
opcra-comique  in  one  act,  text  by  Lemon- 
uier,  music  by  Monsigny,  represented  at  the 
Theatre  de  la  Foire  Saint-Laurent,  Paris, 
Feb.  4,  1761.  Subject  from  the  "Arabian 
Nights."  The  success  of  this  work  led  to 
a  friendship  between  Monsigny  and  the 
poet  Sedaine,  and  to  their  collaboration  in 
several  more  important  operas.  It  was 
given,  with  changes  by  Gluck,  at  the  French 
theatre  in  Vienna,  and  afterward,  Dec.  1, 
1783,  at  Dobbelin's  Theatre,  Berlin,  in  a 
German  translation  (Der  betrogene  Kadi) 
by  Andre,  with  the  music  nearly  rewritten 
by  Gluck.  The  work  was  reproduced  by 
Fuchs,  1878,  at  the  two  hundredth  jubilee 
of  the  Hamburg  Theatre. 

CADMUS  ET  HERmONE,  lyric  trag- 
edy in  five  acts,  and  prologue,  text  by  Qui- 
ault,  music  by  LuUi,  first  represented  at 
the  Academic  Royale  de  Musique,  Paris, 
April,  1673.  It  was  reproduced  nine  times, 
always  with  success,  and  six  editions  of  the 
score  were  pabUshed  (1673  to  1737).  At 
the  fifth  reproduction,  in  1690,  the  cele- 
brated Mile  Maupin  made  her  d('but  in  the 
character  of  Pallas. 

CiESAR,  JOHANN  MELCHIOR,  born 
at  Saverne,  Alsatia,  about  the  middle  of  the 
17th  century,  died  at  Augsburg  in  1692. 
Kapellmeister  to  the  bishops  of  Bamberg 
and  Wiirtzburg  in  1683,  and  at  the  Cathe- 
dral of  Augsburg,  in  1687.  Works  :  Trisa- 
gion  Musicum,  etc.,  op.  1  (1683)  ;  Missa; 
breves  VIII.,  4  vocibus  et  2  violiuis  concer- 
!  tautibus  ac  totidem  vocibus  et  violis,  etc., 


CAETANO 


op.  2  (1G87)  ;  Lustige  Tafelmusik  in  VI. 
Stiicken  luit  60  Baletten,  etc.  (Wiirtzburg, 
1684).— Petis  ;  Cbor.  et  Fay.,  i.  Ill  ;  Gei- 
ber  •  Schilling,  ii.  144. 


;    Giwstizia  placata, 
Olinipiade,  Naples, 


Hermione.   in  Cadmus  et  Hermione. 

CAETANO,  Fra  LUIZ  DE,  bom  at  Fel- 
gueiras,  Portugal,  iu  1717,  died  (?).  Monk, 
and  chorister  of  monastery  at  Lisbon. 
Work  :  Coroa  serafica  de  puras  e  fragrantes 
flores,  Y>e\o  ardente  affecto  dos  j)adres  men- 
ores  da  provincia  de  Portugal  para  com 
summa  melodia  ser  offerecida  emacciio  de 
grajas  nos  coros  Franciscauos  e  no  das  mais 
religoes  sagradas,  todas  amantea  da  pureza 
Mai-ianna  (Lisbon,  1744). — Futis  ;  Vascon- 
cellos,  32. 

CAFARO  (Caffaro),  PASQUALE,  called 
Caffarelli,  born  at  San  Pietro  in  Galauti- 
na,  near  Lecce,  Naples,  Feb.  8,  1708,  died 
at  Naples,  Oct.  28,  1787.  Dramatic  com- 
poser, pupil  of  Leonardo  Leo  at  tlie  Con- 
servatorio  della  Pieta,  Naples.  He  was 
maestro  of  the  Eoyal  Chapel,  and  sub- 
sequently director  of  the  Conservatorio. 
Works — Operas  :  Ipermnestra,  given  at  Na- 
ples, 1751  ;  Antigono,  ib.,  1754  ;  La  Dis- 
fatta  di  Dario,  ib.,  1756  ;  L'  Incendia  di 
Troja,  ib.,  1757  ;  Arianna  e  Teseo,  ib.,  1766 ; 


I  tre  voci,  Na- 
do.  a  pill  voci, 
for  two  choirs 


II  Creso,  Turin,  1768 
intermezzo,  ib.,  1769  ; 
1769  ;  Antigono,  ib., 
1770;  Oratorio  per 
r  Invenzione  della 
Croce,  ib.,  1747  ;  Be- 
tulia  liberata,  sacred 
drama,  ib.,  about 
1778;  II  Figliuolo 
prodigo  ravveduto, 
oratorio  ;  H  Trionfo 
di  Davidde,  do. ;  Or- 
atorio  per  S.  Gio- 
vanni di  Padua  ;  Cantata 
pies,  1764  ;  do.,  ib.,  1766  ; 
ib.,  1769-75-81-85;  Mass 
and  orchestra  (1760)  ;  Pastoral  motet  for  4 
voices  and  orchestra  ;  Litanies  for  4  voices  ; 
Stabat  Mater  for  2  voices  and  organ  ;  Mise- 
rere for  5  voices  and  organ  ;  Psalms,  motets, 
etc.  His  air,  Bella  luce  che  accendete,  -wan 
a  gi'eat  favourite. — Fetis  ;  Burney,  iv.  569  ; 
Chor.  et  Fay.,  i.  Ill  ;  Mendel ;  Schilling. 

CAFFEE-CANTATE,  short  dramatic  can- 
tata in  the  comic  vein  by  Johann  Sebastian 
Bach,  text  by  Picander,  although  it  is  prob- 
able that  Bach  altered  the  denouement  him- 
self.—Spitta,  ii.  471. 

CAFFRO,  GIUSEPPE,  born  in  Naples 
in  1766,  died  after  1808.  Virtuoso  on  the 
oboe.  He  was  placed  in  the  Royal  Chapel 
at  Naples,  and  while  still  young  went  to 
Paris,  where  he  became  known  as  a  success- 
ful performer  at  the  Concerts  Spirituels. 
He  resided  during  his  life  in  Holland,  Ger- 
many, and  Italy.  Works  :  3  concertos  for 
oboe  (Pari.s,  1790)  ;  2  concertos  for  the 
same  (Amsterdam,  1794)  ;  Pot-pourri  for 
flute  and  violin,  or  flute  and  pianoforte 
(Rotterdam,  1795).  Several  of  his  MSS.  are 
in  the  Conservatoire,  Paris. — Futis  ;  Men- 
del ;  Schilling. 

CAGLIOSTRO,  opera-comique  in  three 
acts,  text  by  Scribe  and  Saint-Georges,  mu- 
sic by  Adolphe  Adam,  represented  at  the 
Opora  Comique,  Paris,  Feb.  10,  1844. 
Scene  in  1780,  in  a  salon  at  Versailles. 
The  charlatan,  who  is  already  married  to  an 


262 


CAGNONl 


Italian  singer  who  has  become  prima  donna 
at  Sail  Carlo,  Naples,  wishes  to  marry  a  rich 
heiress,  but  has  a  rival  in  a  young  chevalier, 
who,  at  first  the  victim  of  his  machinations, 
finally  unmasks  him.  Cagliostro,  opera  by 
Johann  Strauss,  was  given  in  Vienna  at  the 
Theater  aii  der  Wieu,  March,  1875.  Pub- 
lished by  Spina. 

CAGNONI,  ANTONIO,  born  at  Godiasco 
(Voghera),  Italy,  Feb.  8,  1828,  stiU  living, 
1888.  Dramatic  composer,  pupil  at  the 
Milan  Couservatorio  of  Ray  and  of  Frasi  iu 
1842-47,  when  he  wrote  his  first  operas,  of 
which  he  had  brought  out  six  up  to  1856. 
At  that  time  he  became  maestro  di  cappella 
at  Vigevauo,  and  for  several  years  wrote 
church  music,  which  ranks  among  his  best 
efforts.  In  18G3  he  produced  again  a  dra- 
matic work,  and  has  since  written  about 
twenty  operas,  most  of  which  have  met  with 
success.  Works  :  Rosalia  di  San  Miniato, 
given  at  jNIilau,  Teatro  Carcano,  1845  ;  I  due 
Savojardi,  ib.,  1846  ;  Don  Bucefalo,  ib.,  Tea- 
tro Re,  1847  ;  II  testamento  di  Figaro,  ib., 
1848  ;  Amori  e  Trappole,  Genoa,  Teatro 
Carlo  Felice,  1850  (partly  rewritten  and 
given  in  Rome,  1867) ;  La  Valle  d'  Andorra, 
Milan,  Teatro  della  Canobbiana,  1851  (re- 
written, and  given  at  Genoa,  1861) ;  Gi- 
ralda,  Milan,  Teatro  di  Santa  Radegonda, 
1852  ;  La  fioraja,  Turin,  Teatro  Nazionale, 
1855  ;  La  figlia  di  don  Liborio,  Genoa, 
Teatro  Carlo  Felice,  1856  ;  II  vecchio  della 
montagna,  Milan,  Teatro  della  Scala,  1863  ; 
Michele  Perriu,  ib.,  Teatro  dell'  Accademia 
de'  Filodramatici,  1864  ;  Claudia,  ib.,  Teatro 
della  Canobbiana,  1866  ;  La  tombola,  Rome, 
Teatro  Argentina,  1869  ;  Un  capriccio  di 
Donna,  Genoa,  Teatro  Carlo  Felice,  1870  ; 
Pap;\  Martin,  Florence,  Teatro  Nazionale, 
1871 ;  II  Duca  di  Tapigiiano,  Lecco,  1874. 
— Fetis,  Supplement,  i.  140. 

CAHEN,  ALBERT,  French  amateur  com- 
poser, known  by  the  following  works  :  Jean 
le  precurseur,  biblical  drama,  performed  in 
part  at  the  Concert  National,  Jan.  25, 1874  ; 
Endymion,  mythological  pastoral,  do..  Con- 
cert Danbe,  Jan.  19,  1875  ;  Le  bois,  comic 


ojiera.  Opera  Comique,  Oct.  11,  1880. — Fe- 
tis.  Supplement,  i.  142. 

CAHEN,  ERNEST,  born  iu  Paris,  Aug. 
18,  1828,  still  living,  1888.  Dramatic  com- 
poser and  pianist,  pupil  at  the  Conserva- 
toire, where  he  obtained  the  first  prize  in 
harmony  and  accompaniment  in  1847,  and 
the  second  grand  prix  for  composition  in 
1849.  Works :  Le  Calfat,  operetta,  given 
at  the  Folies  Nouvelles,  1853  ;  Le  souper 
de  Mezzetin,  do.,  ib.,  1859. — Fetis,  Supple- 
ment, i.  141. 

CAID,  LE,  opera-bouffe  in  two  acts,  in 
verse,  text  bj'  Sauvage,  music  by  Ambroise 
Thomas,  first  represented  at  the  Opera  Co- 
mique, Paris,  Jan.  3,  1849.  Subject,  the 
adventures  of  a  French  barber  in  Algeria. 
With  a  lively  and  original  overture,  melo- 
dious airs,  and  a  brilliant  finale,  this  oper- 
etta has  won  a  deserved  success. — Hanslick, 
Moderne  Oper,  174. 

CMF^ABRI,  GIOVANNI  BATTISTA, 
Italian  church  composer  of  the  second  half 
of  the  17th  century  ;  Roman  school.  Works  : 
Motetti  a  due  e  tre  voci  (Rome,  Mascardi, 
1667) ;  Scelta  di  Motetti  a  quattro  voci  (ib , 
1675)  ;  Salmi  vesi^ertini  a  do.  per  tutte  le 
feste  deir  anno,  op.  4  (ib.,  1683). — Fetis. 

CAIGNET,  DENIS,  born  about  the  mid- 
dle of  the  16th  century.  Musician  to  the 
Due  de  Villeroi.  He  obtained  the  prize  at 
the  Concours  dii  Puy  de  Musique,  at  Evreux, 
in  1587,  for  a  chanson  for  several  voices, 
Las !  je  ne  voyrrai  jjIus.  He  set  to  music 
the  Psalms  of  David,  in  4  parts  (Paris,  1607). 
—Fetis. 

C.UilO,  GIUSEPPE,  born  in  Milan  about 
1540,  lived  till  about  1585.  Composer  of 
madrigals  and  canzonets.  The  titles  of  his 
works  which  are  known  are  :  Madrigali  a 
cinque,  lib.  i.  (Venice,  1568) ;  Madrigali  a  5, 
6,  7,  and  8  (Milan,  1571)  ;  Madrigali  a  quat- 
tro, lib.  i.  (Milan,  1581) ;  Madrigali  a  cinque, 
lib.  ii.  (1582)  ;  Canzonette  a  quattro,  lib.  i. 
(Brescia,  1584) ;  others  in  1585.  Some  of 
his  madrigals  and  chansons  are  in  the  Col. 
Paradiso  Musicale  (Antwerp,  1596). — Fetis ; 
Gerber ;  Schilling. 


353 


gA 


\ 


^"A  IRA,  a  French  revoliitiouaiy  song, 
said  to  have  been  suug  first  when  the  Pa- 
risian mob  marched  to  Versailles,  Oct.  5, 

1789.  The  words  were  suggested  to  Ladre, 
a  street  singer,  by  Lafaj-ette,  who  remem- 
bered Franklin's  favourite  saying  at  each 
stage  of  the  American  revolution.  The 
melody,  composed  by  one  Bocour  or  Be- 
court,  was  originally  a  coutre-danse,  very 
jjopular  under  the  title  of  Carillon  national. 
It  is  said  to  have  been  a  favourite  motive  of 
Marie  Antoinette.  This  soug,  which  incited 
the  rabble  to  deeds  of  horror  during  the 
Eeign  of  Terror,  was  prohibited  by  the  law 
of  the  18th  Brumaire,  1799,  but  it  gener- 
ally made  its  reappearance  iu  revolutionary 
times.     The  tune  is  given  in  Grove,  I.  297. 

CAIUS  HIAitlUS,  the  famous  Roman 
general  (b.c.  157-8G),  is  the  hero  of  the 
following  operas  :  Cajo  Mario,  Italian  opera, 
music  by  Antonio  Bioni,  Ferrara,  1722  ;  by 
NiccoK)  Piccinni,  Najiles,  17.57 ;  by  Giu- 
seppe Scolari,  ]\Iilan,  1763 ;  by  Galupjii, 
Venice,  1764  ;  by  Anfossi,  Venice,  1769  ;  by 
Carlo  Monza,  Venice,  1777  ;  by  Cimarosa, 
Rome,  1780  ;  by  Bianchi,  Naples,  178-4  ;  by 
Bertoni,  about  1790  ;  by  Giordaui,  Venice, 

1790.  Mario,  Italian  opei'a,  music  by  Jo- 
hann  David  Heiuichen,  Dresden,  1719  ;  and 
by  Sanpieri  (Coute  di  San  Bouifazio),  Bo- 
logna, 1869.  Mario  fuggitivo,  Italian  opera, 
text  by  Silvio  Stampiglia,  music  by  Gio- 
vanni Bononcini,  Vienna,  1708  ;  by  Fran- 
cesco Mancini,  Naples,  1710. 

CAJANI,  GIUSEPPE,  born  in  Milan  iu 
1774,  died  iu  Paris  iu  1821.  Composer  of 
the  following  ballets,  given  in  Milan  :  Ta- 
vora  ed  Oliviera ;  La  festa  campestre,  1797  ; 
Demetrio  ;  I  finti  filosofi  ;  Eugenia  e  Ro- 
dolfo,  1799 ;  II  filopemene  ;  Adelaide  ed 
Alfonso ;  I  tre  matrimoni,  1805  ;  Le  Da- 
naide  ;  Matilda  e  Radegoudo,  1816  ;  Ro- 
milda  e  Dezavedos  ;  I  Riti  di  Milo,  1818. — 
Fetis. 

CAJO  FABRICCIO,  Italian  pasticcio,  mu- 
sic by  Handel,  rejsreseuted  at  Covent  Gar- 
den Theatre,  London,  Dec.  4,  1733.  In 
this  work,  the  muaic  of  which  is  entirely 


made  up  of  selections  fi'om  the  composer's 
own  works,  Giovanni  Carestini,  the  cele- 
brated artificial  contralto,  made  his  first 
ap)pearauce  in  London. — Rockstro,  Handel, 
322  ;  Schojlcher,  Handel,  161. 

CALDARA,  ANTONIO,  born  in  Venice 
in  1678,  died  in  Vienna,  Dec.  28,  1736. 
Dramatic  composer ;  j)upil  in  Venice  of 
Legrenzi.  He  was  for  many  years  a  singer 
in  the  ducal  chapel  of  San  Marco,  but  was 
appointed  in  1714  maestro  di  cajjpella  at 
Mantua.  In  1718  he  went  to  Vienna  and 
bacame  Kapellmeister  to  Charles  VI.,  who 
was  very  fond  of  his  music  and  took  lessons 
of  him  in  composition.  He  wrote  ojieras 
and  oratorios  and  much  church  music. 
Some  of  his  cantatas  on  sacred  subjects 
are  for  one,  two,  and  three  voices  with 
elaborate  orchestral  accompaniment.  His 
church  work  is  hardly  equal  in  quality  to 
his  fecundity,  but  some  of  it  is  remark- 
able for  sublimity  of  style.  His  Crueifixus 
for  sixteen  voices,  a  chef-d'oeuvre,  was  pub- 
lished by  Teschner  iu  1840.  Many  of  his 
church  works  are  iu  the  court  libraries  at 
Vienna  and  Dresden,  others  iu  the  Sautini 
collection.  AVorks — Operas  and  sacred  dra- 
mas :  Argene,  given  in  Venice,  1689  ;  Tirsi 
(with  Lotti  and  Ariosti),  ib.,  1696  ;  Le  pro- 
messe  serbate,  II  trionfo  della  coutinenza, 
ib.,  1697  ;  Farnace,  ib.,  1703  ;  II  selvaggio 
eroe,  ib.,  1707  ;  Partenope,  Sofonisba,  ib., 
1708  ;  L'  iuimico  generoso,  Bologna,  1709  ; 
Costanza  iu  amore  vince  1'  iuganno,  ]\Iace- 
rata,  1710  ;  Atenaide,  Rome,  1711  ;  Tito  e 
Berenice,  ib.,  1714 ;  II  ricco  epulone,  Ven- 
ice, 171.5 ;  II  giubilo  della  salza,  Salz- 
burg, 1716 ;  Cajo  Mario,  Vienna,  1717  ; 
Coriolano,  La  verita  nell'  inganno,  ib., 
1717 ;  La  partenza  amorosa,  Rome,  1717  ; 
Astarte,  Ifigenia  in  Aulide,  La  forza  dell' 
amicizia,  Vienna,  1718  ;  Lucio  Papirio 
dittatore,  Sirita,  Sisai-a,  Tobia,  ib.,  1719  ; 
Assalone,  ib.,  1720 ;  Naaman,  ib.,  1721  ; 
Giuseppe,  Nitocri,  Ormilda,  Scipione  nelle 
Spagne,  ib.,  1722  ;  Euristco,  ib.,  1723  ;  An- 
dromacca,  Davidde,  Giangiur,  ib.,  1724;  La 
Griselda,  Le  profezie  evangeliche,  Semira- 


S54 


CALDARERA 


mide,  ib.,  1725;  I  duo  dittatori,  Venceslas, 
Gioas,  Battista,  ib.,  172(! ;  Dou  Cbisciotto 
alia  corte  della  ducbessa,  Imeneo,  Orno- 
spade,  ib.,  1727  ;  Gionata,  Mitridate,  ib., 
1728  ;  Cajo  Fabrizio,  Nabot,  ib.,  1729  ;  La 
Passioue  di  Gesii  Cristo,  Vienun,  1730 ; 
Dauiello,  Sauta  Elena  al  Calvario,  Demetrio, 
ib.,  1731  ;  L"  asilo  d'  Amore,  Sedecia,  ib., 
1732;  Demofooute,  ib.,  1733;  Gerusalem- 
me  couvertita.  La  clemeuza  di  Tito,  ib., 
1734 ;  Adriano  in  Siria,  Davidde  umiliato, 
Enone,  San  Pietro  in  Cesarea,  Ge.sti  pi-esen- 
tato  uel  tempio,  Le  grazie  \indicate,  ib. 
1735  ;  L'  Olimpiade,  Achille  in  Sciro,  Giro 
riconosciuto,  Temistocle,  ib.,  1736  ;  L'  in- 
gratitudiue  castigata,  ib.,  1737.  Oratorios  : 
S.  Firnia  ;  Santo  Stefano,  prinio  re  d'  Un- 
glieria  ;  Le  gelosie  d'  un  amore  iitilmente 
crudele  ;  La  couversione  di  Clodario,  re  di 
Fraucia ;  La  frode  della  castitfi ;  II  trionfo 
dell  innoceuza  ;  Albigai  ;  Sta.  Francesca  ro- 
mana  ;  La  ribellione  di  Assalone  ;  L'  As- 
sunzioue  della  Beata  Vergine  ;  La  castita  al 
cimeuto ;  II  trionfo  d'  amore ;  La  costanza 
in  amore  vince  1'  iugauuo,  pastoral ;  Mas- 

ses,  motets,  hymns,  psalms,  and  cantatas  ; 
Sonatas  for  two  violins  and  basso  continuo 
(Amsterdam). — Fetis  ;  Mendel  ;  Schilling  ; 
Wurzbach. 

CALDARERA,  MIGUEL,  born  at  Borgo- 
Sesia,  Italy,  Sept.  28,  1702,  died  at  Casale 
in  1742.  He  studied  counterpoint  at  the 
age  of  fourteen  in  IVIilau,  became  a  very 
clever  musician,  and  was  appointed  maestro 
di  cappella  of  the  Church  of  S.  Evasio,  Ca- 
sale, a  post  he  occupied  until  his  death. 
He  left  a  gi-eat  deal  of  church  music  in  MS. 
—Fetis  ;  Burney,  iv.  533  ;  Mendel. 

CALDICOTT,"  ALFRED  JAIMES,  born 
at  Worcester,  England,  in  1842,  still  living, 
1888.  Dramatic  composer,  pupil  at  the  Con- 
servatorium,  Leipsic,  of  Moscheles,  Haupt- 
mann,  Plaidy,  and  Richter  ;  settled  at  Wor- 


cester in  1864,  and  l)ecanie  organist  of  St. 
Stephen's  Church,  and  to  the  Corporation, 
and  conductor  of  the  musical  and  instru- 
mental societies  of  Worcester.  He  won  the 
special  Glee  Prize  offered  by  the  Manchester 
Glee  Society,  1878,  and  the  first  prize  for 
serious  glee,  Huddersfield,  1879.  Profes- 
sor at  the  Royal  College  of  Music,  London, 
since  1882  ;  organist  and  conductor  at  Al- 
bert Palace,  ib.  Mus.  Bac,  Cambridge, 
1878.  Works:  The  Widow  of  Nain,  can- 
tata, Worcester  Festival,  1881  ;  A  Rhine  Le- 
gend, do.  for  women's  voices,  1883  ;  Queen 
of  May,  cantata ;  Treasure  Trove,  A  Moss- 
Rose-Rent,  operettas,  1883  ;  A  Fishy  Case, 
children's  operetta,  1883  ;  Old  Knockles, 
operetta  (German  Reed),  1884 ;  Humpty 
Dumpty,  prize  glee,  1878 ;  Winter  Days, 
do.,  1879 ;  Dickens'  Series  of  Songs  ;  other 
glees  and  songs. 

CALEGARI  (Callegari),  ANTONIO,  born 
at  Padua,  Oct.  18,  1758,  died  there,  July  22, 
1828.  Dramatic  composer,  chiefly  known 
by  an  eccentric  work  published  in  Venice, 
and  subsequently  in  Paris,  entitled :  L'art 
de  composer  la  musique  sans  en  counaitre 
les  elements  (1801,  1802),  which  he  dedicat- 
ed to  Mme  Bonaparte,  who  from  that  time 
took  him  under  her  protection.  Works — 
Operas  :  Le  sorelle  rivali,  1784  ;  L'  Amor 
soldato,  1786  ;  II  matrimouio  scoperto, 
Venice,  1789.— Fetis  ;  Mendel. 

CALEGARI,  CORNELIA,  born  at  Ber- 
gamo in  1644,  died  (?).  Pianist  and  singer, 
published  her  first  collection  of  motets  at 
the  age  of  fifteen  ;  in  1660  entered  the  con- 
vent of  Santa  Margherita,  Milan,  where  by 
her  organ  playing  and  singing,  she  at- 
tracted multitudes  of  church  goers.  Works : 
Motets  for  one  voice  (1659)  ;  Madrigals  for 
do. ;  do.  for  2  voices  ;  Masses  for  6  voices, 
with  instruments  ;  Vespers,  etc. — Mendel. 

CALEGARI,  FRANCESCO  ANTONIO, 
born  at  Padua,  about  the  end  of  the  17th 
century.  Maestro  di  cappella  of  the  Church 
of  the  Convent  of  the  Cordeliers,  Venice,  in 
1702,  and  at  Padua,  in  1724.  Among  his 
published    works    are  :    IX    Salmi ;    Salve 


265 


CALETTI 


Sanguis ;  Cantate  tla  Camera.  He  de- 
stroyed most  of  liis  church  music  when  he 
took  up  the  enharmonic  style  of  the  old 
Greek  music,  of  which  he  thought  he  had 
discovered  the  principle  ;  but  his  writings 
iu  the  new  style  met  with  no  success. 

CALETTI-BRUNI.     See  CavcM. 

CALIFE  DE  BAGDAD,  LE,  opera-com- 
ique  in  one  act,  text  by  Godard  d'Aucourt 
(Saint-Just),  music  by  Boieldieu,  first  repre- 
sented at  the  Theatre  Favart,  Paris,  Sept.  16, 
1800.  Isaoun,  Caliph  of  Bagdad,  wishing  to 
assure  himself  that  he  is  loved  for  himself 
and  not  for  his  title,  woos  the  beautiful  Ze- 
tulbc'  in  disguise.  He  is  mistaken  for  a  noted 
brigand,  and  the  fright  of  Lemaide,  Zi'tul- 
be's  mother,  is  complete  ;  but,  in  sjiite  of 
appearances,  the  heart  of  the  young  girl  re- 
mains constant.  The  dialogue  is  lively  and 
the  music  charming  and  fresh.  The  over- 
ture is  one  of  the  composer's  best  efforts. 
After  more  than  eight  hundred  representa- 
tions, this  opera  still  keeps  the  stage.  H 
Califo  di  Bagdad,  music  by  Manuel  Garcia, 
was  represented  at  the  Teatro  San  Carlo, 
Naples,  1812,  and  at  the  Opera  Italien, 
Paris,  March  22,  1817  ;  and  Adiua,  ossia  il 
Califfo  di  Bagdad,  music  by  Rossini,  was 
given  at  the  Teatro  San  Carlos,  Lisbon, 
iu  1813. — Pougin,  Boieldieu,  62. 

CALIQN,  JOHN  BAPTISTE,  born  in 
London,  March  16,  1827,  still  living,  1888. 
Church  composer,  pupil  of  his  father.  Or- 
ganist, precentor,  and  choir-master  at  St. 
Columba's  College,  L-eland,  184:6-53  ;  do. 
at  "Woburn  Chapel,  1853-57  ;  do.  at  Cam- 
den Road  Chapel,  1803-68  ;  do.  at  St. 
Thomas'  Church,  Elm  Road,  Camden  Town, 
1870-84.  Professor  at  Guildhall  School  of 
Music.  Works  :  Services,  op.  40,  96,  and 
in  D,  for  j^arish  choirs  ;  Morning  and  Even- 
ing Service,  in  G,  1883  ;  Communion  Ser- 
vice, op.  104  ;  Te  Deum  in  D  ;  Anthems  ; 
Glees  and  Part-songs  ;  Songs  ;  Organ  and 
pianoforte  pieces ;  Quartet  for  strings  ; 
(Quintet  for  do.  ;  Trio  for  pianoforte,  violin, 
and  violoncello  ;  Sonata  for  pianoforte  and 
violoncello,  etc. 


CALLCOTT,  JOHN  GEORGE,  born  in 
London,  July  19,  1821,  .still  living,  1888. 
Son  of  John  Wall  Callcott ;  is  organist  at 
Teddington.  He  was  for  twenty-four  years 
accompanist  of  Henry  Leslie's  famous 
choir,  now  under  Alberto  Randegger. 
Works  :  Hallowe'en,  cantata  for  solo  voices, 
chorus,  and  orchestra  ;  The  Golden  Har- 
vest, do.  ;  Songs,  pai't-songs,  and  piano- 
forte music. 

I  CALLCOTT,  JOHN  WALL,  born  at  Ken- 
sington, London, 
Nov.  20, 1760,  died 
there.  May  1 5 , 
1821.  He  learned 
the  rudiments  of 
music  by  frequent- 
ing the  organ-loft 
of  Kensington 
Church,  and  by  at- 
tending the  Chajj- 
el  Royal  and  West- 
minster Abbey,  where  Drs.  Arnold  and 
Cooke,  and  the  elder  Sale  became  interested 
in  him.  In  1783-85  he  was  deputy  organ- 
ist of  St.  George  the  Martyr  under  Rein- 
hold.  In  1785,  Dr.  Cooke  introduced  him 
to  the  orchestra  of  the  Academy  of  Ancient 
Music,  and  his  bias  was  then  formed  for  glee 
writing.  He  won  three  of  the  ioxiv  firize 
medals  of  that  year  for  his  catch  :  O  beau- 
teous fair  ;  his  canon  :  Blessed  is  he  ;  and 
his  glee  :  Dull  rejiining  sons  of  care  ;  and  he 
received  at  Oxford  the  degree  of  Bachelor 
of  Music.  He  took  an  active  part  in  1787, 
with  Dr.  Arnold  and  others,  in  the  forma- 
tion of  the  Glee  Club  :  was  joint  organist 
with  Charles  S.  Evans  of  St.  Paul's,  Covent 
Garden,  in  1788  ;  and  from  1792  to  1802 
was  organist  to  the  Asylum  for  Female 
Orphans.  In  1790  he  took  lessons  from 
Haydn  in  instrumental  composition  to  per- 
fect himself  in  orchestral  writing,  and  in 
1793  studied  the  works  of  the  best  theor- 
ists, having  projected  a  musical  dictionary. 
Oxford  gave  him  the  degree  of  Doctor  of 
Music  in  1800  ;  and  he  employed  the  fol- 
lowing yeai's  on  his  dictionary,  which  was 


356 


CALLCOTT 


published  iu  1806.  In  the  same  year  he 
was  appointed  lecturer  on  music  at  the 
Royal  Institution,  to  succeed  Dr.  Crotch, 
but  his  niiud  gave  way  from  over-work  and 
he  had  to  retire  from  public  life.  His  works, 
consisting  of  glees,  catches,  and  canons, 
were  edited  after  his  death  by  W.  Horsley. 
— Grove  ;     Futis  ;  Mendel. 

CALLCOTT,  WILLI.\:\I  HUTCHIXGS, 
born  at  Kensington,  London,  iu  1807,  died 
there,  Aug.  5, 1882.  Organist,  younger  son 
of  John  Wall  Callcott,  and  long  a  teacher  iu 
Loudon,  where  he  attained  considerable  dis- 
tinction as  a  composer  and  arranger.  He 
arranged  many  glees  for  three  male  voices, 
including  some  by  his  father.  Among  his 
most  popular  works  are  the  song.  The  Last 
Man,  to  Campbell's  words,  and  the  anthem. 
Give  peace  in  our  time,  O  Lord. 

CALL  FORTH  THY  POW'RS,  tenor 
air  iu  D  major,  of  Judas,  iu  Hantlel's  Judas 
Maccabteus,  Part  i. 

CALLIAS,  ou  Natui-e  et  Patrie,  heroic 
drama  in  one  act,  in  verse,  text  by  Hoffmann, 
music  by  Gretry,  first  represented  at  the 
OiJera  Comique,  Paris,  Sept.  19,  1794. 

CALLIRHOE,  French  tragic  oj)era  in  five 
acts,  with  prologue,  text  by  Ro\-,  music  by 
Destouches,  represented  at  the  Academic  de 
Musique,  Paris,  Dec.  27,  1712.  Subject, 
the  story  of  Callirrhoe,  who  was  loved  by 
Coresus,  priest  of  Dionysus  (Pausauias,  VH. 
21).  Calliroe,  Italian  opera,  music  by  Sac- 
chini,  represented  at  Stuttgart,  1770  ;  music 
by  Felice  Alessandri,  Milan,  1778. 

CALLIRRHOE,  cantata,  text  by  Barclay 
Squire,  music  by  John  Frederick  Bridge, 
written  for  and  first  performed  at  the 
Bu-miugham  (England)  Festival,  Aug.  30, 
1888.— Athenseum  -(1888),  H.  328  ;  Academy 
(1888),  H.  125,  159. 

CALM  SEA  AND  PROSPEROUS  VOY- 
AGE. See  Mefi-fsdille  und  gliickliche 
Fahrt. 

CALMEZ,  CALMEZ  CETTE  COLf:RE. 
See  Ariiidant. 

CALVARY,  Spohr.  See  Hedands  letzte 
Stunden. 


CALVEZ,  GABRIEL,  a  Spanish  musician, 
living  in  Rome  about  the  middle  of  the 
16th  century.  Chorister  at  the  Church  of 
S.  M.  Maggiore.  Composer  of  motets  for 
four  voices,  published  at  Rome  in  1540. 
One  of  these,  Emeudemus  in  melius  quae 
ignoranter  peccavimus,  furnished  Palestrina 
with  the  theme  for  his  mass,  Emeudemus. 
— Fctis  ;  Mendel. 

CALVIERE,  GUILLAUjVIE  ANTOINE, 
born  iu  Paris,  iu  1695,  died  at  Versailles, 
Ajjril  18,  1755.  Appointed  organist  of  the 
King's  Chapel  in  1738,  a  position  he  occu- 
pied till  his  death.  In  common  with  most 
of  the  French  organists  of  that  time,  his 
playing  lacked  style,  aud  his  harmony  was 
uot  correct,  but  he  was  considered  a  good 
organist  iu  France.  He  comjwsed  many 
motets  for  full  chorus,  and  many  organ  pieces, 
which  were  never  published. — Fetis  ;  Bur- 
uey,  iv.  623  ;  Mendel ;  Schilling. 

"CALVISIUS,  SETHUS  (Seth  Kallwitz), 
born  atGorsch- 
leben,  iu  Thu- 
r  i  n  g  i  a ,  Feb. 
21,  1556,  died 
i  u  L  eips  ic, 
Nov.  24,  1615. 
The  son  of 
poor  j)arents 
named  Kall- 
witz, he  con- 
trived to  at- 
tend the  Magdeburg  Gymnasium  and  the 
Universities  of  Helmstedt  and  Leipsic,  and 
became  an  eminent  musician  and  theorist. 
In  1580  he  became  Musik- Director  of  the 
Pauliner  Church,  Leipsic  ;  in  1582  cantor  at 
Schulpforta  ;  was  called  to  Leijssic  to  be- 
come cantor  audSchulcollege  of  theThomas- 
schule  iu  1592,  and  was  made  Musik-Direc- 
tor  of  the  .same,  in  1594.  He  devoted  all 
his  time  and  energies  to  this  school,  refus- 
ing offers  from  Wittenberg  aud  Frankfort. 
Works  :  Harmonia  cantiouum  a  M.  Luthero, 
etc.  (1596)  ;  Biciniorum  libri  duo  (1500  and 
1612)  ;  Teutsche  Tricinia  (1603)  ;  Der  150 
Psalm  fiir  12  Stimmen  (1615) ;  Der  Psalter 


•^. 


CALYO 


Davids  (Leipsic,  1G17).  Many  of  liis  motets 
aud  hymns  iu  MS.  are  in  the  Library  of  tlie 
Thomasschiile.  His  treatises  are  :  Me- 
lopeia  (Erfurt,  1582  aud  1630)  ;  Compen- 
dium musicse  practicse  (Leipsic,  1594)  ; 
Auserlesene    teutsche   Lieder   (ib.,    1G03) ; 


5V'^^  Q/^i 


W6tW. 


Exercitationes  musicae  duse  (ib.,  1600, 
1611).— Grove  ;  Fetis  ;  Gerber  ;  Meudel  ; 
Eiemann  ;  Schilling  ;  Winterfeld,  Der  evang. 
Kirchengesang,  i.  352. 

CALVO,  LORENZO,  a  monk,  of  the  Ven- 
etian States,  in  the  early  part  of  the  17th 
century.  He  was  musician  in  the  Cathedral 
of  Pavia.  Works :  Symbolje  diversorum 
musicorum,  2,  3,  4,  5  vocibus  cantandse 
(1626) ;  Cauzoni  sacre  a  2,  3  e  4  voci ;  Rac- 
colte  L,  n.,  in.,  IV. ;  Rosarium  Litaniarum 
B.  V.  Mariaj  (Venice,  1626).— Fc'tis. 

CAJIACHOS  HOCHZEIT.  See  Hochzeit 
des  Camacho. 

CAMARGO,  LA,  opi'ra-comique  in  three 
acts,  text  by  Vanloo  and  Leterrier,  music 
by  Lecocq,  represented  at  the  Tlu-atre  de  la 
Renaissance,  Paris,  Nov.  20,  1878.  The 
principal  characters  are  the  celebrated  dau- 
seuse  Camargo  and  the  notorious  swindler 
Mandrin,  called  the  Chevalier  de  Valjoly. 
— Clement  and  Larousse,  893. 

CAMAUER,  GODEFROID,  born  at  Berg- 
op-Zoom,  Netherlands,  May  31,  1821,  died 
at  Huy,  Belgium,  Oct.  14,  1884.  Dramatic 
comiooser,  pupil  at  the  Conservatoire,  Liege, 
of  Daussoigne  and  Jalheau.  He  settled  at 
Huy,  where  he  became  maitre  de  chapelle 
of  the  parish  church.  Works  :  Gretry  a  Ver- 
sailles, comic  opera,  given  at  Huy,  1856  ; 
Mass  for  four  voices  ;  Ouverture  jiastorale  ; 
many  choruses. — Fetis,  Supplement,  i.  142. 

CAMBEFORT,  JEAN,  composer  of  the 
17th  century,  died  May  4,  1661.  He  was 
court  musician  to  Louis  XIV.,  superintend- 
ent of  the  king's  chamber  music,  and  court 
composer.  He  wrote  several  ballets  and 
cantatas,    and    jjublished    a    collection    of 


twenty-seven  songs  entitled  :  Airs  de  cour 
a  quatre  parties,  de  monsieur  de  Cambefort, 
maistre  et  compositeur  de  la  musique  de  la 
chambre  du  Roy,  a  Paris,  etc.  (1651).  An- 
other collection  contains  twenty-two  airs,  six 
from  the  Ballet  royal  de  la  Nuict,  and  one 
from  the  Ballet  du  Temps,  dedicated  to  Car- 
dinal Mazariu. — Fetis  ;  Chor.  et  Fay,  i.  114. 
CAMBERT,  ROBERT  (sometimes, 
wrongly,  Lambert),  born  in  Paris  about 
1628,  died  in  London  in  1677.  The  son  of 
a  sword-cutler,  he  studied  the  clavichord 
under  Chambonnieres,  and  became  organist 
at  the  college  church  of  Saint-Honore.  In 
1666  he  was  ajjpointed  superintendent  of 
the  music  of  Queen  Anne  of  Austria,  mother 
of  Louis  XIV.  On  June  28,  1669,  the  Aca- 
demic Royale  de  Musique  was  created,  and 
the  license  was  given  to  Pierre  Perrin  (the 
originator  of  the  scheme),  who  soon  asso- 
ciated Cambert  with  himself.  This  license 
was  withdrawn  iu  favour  of  Lulli  in  1672. 
In  1673  Cambert  went  to  England,  where 
he  became  bandmaster  of  a  regiment  and 
afterwards  master  of  the  music  of  Charles 
n.,  which  jjost  he  held  until  his  death. 
Cambert  may  be  called  the  founder  of  the 
Freuch  opera.  He  was  induced  to  apply 
his  talent  to  dramatic  composition  by  the 
Abbe  Perrin,  who  was  fired  with  ambition, 
by  the  performance  in  Paris,  in  1647,  of 
Peri's  Euridice,  to  produce  similar  works  for 
the  French  stage.  The  result  of  their  col- 
laboration was  La  Pastorale,  universally 
styled  the  first  French  musical  comedy, 
which  was  brought  out  at  the  Chateau 
d'Issy  iu  April,  1659,  and  afterwards  re- 
peated at  Vincennes  by  command  of  Louis 
XIV.  Mazariu  ordered  another  ojjera, 
Ariane,  ou  le  mariage  de  Bacchus,  which 
was  given  at  Issy  in  1661.  Adonis,  written 
in  1662,  was  never  perfonned,  aud  the  score 
has  been  lost.  The  first  work  written  for 
the  new  Acadcmie  de  Musique  was  Pomone, 
given  with  great  success  in  1671.  Cam- 
bert's  works,  as  far  as  they  are  known,  are  : 
La  Faslorale,  1659  ;  Ariane,  1661  ;  Adonis, 
1662  (never  given)  ;  Pomone,   1671   (parts 


268 


CAMBmi 


published  by  Ch.  Ballard)  ;  Les  peines  et 
les  plaisirs  de  raniour,  1(>72  (part  of  the 
MS.  score  is  in  the  National  Library,  Paris) ; 
Airs  a  boire,  a  deux  et  a  trois  parties  (Paris, 
Robert  Ballard,  1665 ;  the  bass  part  is  in 
the  Paris  Library,  the  other  parts  are  waut- 
inn), — Pougin,  "Les  vrais  crc-ateurs  de 
rOpcn-a  frail  (jais,  Perrin  et  Cambert,"  in  Le 
Mt'iiestrel  (1875-1876). 

CA^MBINI,  GIOVANNI  GIUSEPPE,  born 
at  Leghorn,  Feb.  13,  1746,  died  in  Paris,  iu 
1825.  Dramatic  composer  and  violinist  ; 
pupil  at  Bologna  of  Padre  Martini  in  1763- 
66.  Captured  by  corsairs,  while  on  his 
way  from  Naples  to  Leghorn,  and  carried 
to  Barbary,  he  was  ransomed  by  a  Vene- 
tian merchant,  and  went  in  1770  to  Paris. 
There  he  found  a  patron  in  the  Prince  de 
Conti,  through  whose  influence  Gossec, 
director  of  the  Concerts  Spii'ituels,  success- 
fully produced  one  of  his  symphonies.  He 
became  a  prolific  composer,  writing  sixty 
symphonies  iu  a  few  years,  and  publishing 
much  instrumental  music.  He  wrote  some 
dramatic  music  at  this  time,  and  music  for 
pantomimes,  became  director  of  the  Beau- 
jolais  Theatre  in  1788,  and  chef  d'orchestre 
at  the  Theatre  Louvois  in  1791.  His  or- 
atorio, Le  Sacrifice  d'Abraham,  was  given 
at  the  Concerts  Spirituels  in  1774,  and  Joad 
and  a  Miserere  in  1775.  He  published  L'Art 
de  moduler  sur  le  violou  (1796)  ;  Mc- 
thode  pour  flute  (1799)  ;  and  helped  Ga- 
rande  to  publish  a  musical  paper,  "Tablettes 
de  Polymnie,"  in  1811.  He  lost  his  theatrical 
positions  and  was  made  director  of  the  con- 
certs of  M.  Armand  Seguin,  a  rich  business 
man  of  Paris  who  gave  concerts  iu  his  own 
house.  Works — Operas  :  La  statue,  1784  ; 
La  Croisee,  1785  ;  Les  fourberies  de  Ma- 
thurin,  1786 ;  Le  tuteur  avare.  Colas  et 
Colette,  Le  bon  pere,  1788  ;  Nantilde  et 
Dagobert,  1791  ;  Les  trois  freres,  1793  ; 
Alcmcne,  Alcede,  and  the  ballet-opera,  Fetes 
venitiennes,  1782.  The  last  ten  years  of  his 
life  were  spent  in  the  hospital  of  Bicutre. 
— Fetis  ;  do..  Supplement,  i.  144  ;  Mendel ; 
Riemann,  144. 


CAMBIO,  PERISSONE,  flourished  in 
Venice  about  the  middle  of  the  16th  cen- 
turj-.  Singer  in  the  ducal  chapel  of  San 
Marco,  Venice.  His  canzone  villanesche 
are  among  the  most  genuine  national  songs 
of  that  period.  Works  :  Madrigali  a  quattro 
voci,  libro  primo  (Venice,  Gardano,  1547)  ; 
Secondo  libro  de'  Madrigali  a  cinque  voci, 
etc.  (ib.,  1548)  ;  Canzone  villanesche  alia 
Napolitana  (ib.,  1551).— Burney,  iii.  214  ; 
Fetis. 

CAMERANA,  LUIGI,  born  in  Piedmont 
in  1846,  still  living,  1888.  Dramatic  com- 
poser, maestro  di  cappella  at  the  theatre  of 
Savona.  Works  :  Patatrich  e  Patatrach, 
operetta,  1872  ;  Don  Fabiano  dei  Corbelli, 
opera  buSa,  Turin,  Teatro  Balbo,  1874  ; 
Gabriella  Chiabrera,  opera  seria,  Savona, 
1876  ;  music  to  the  melodrama  Alberto  di 
Prussia,  performed  in  1875. — Fetis,  Supple- 
ment, i.  144. 

CAMERLOHER,  PLACIDUS  VON,  born 
in  Bavaria  about  1720,  died  at  Freising,  ib., 
in  1776.  Organist,  lutist,  and  violinist  ;  can- 
on of  the  basilica  of  St.  Andrew  at  Freising, 
afterwards  councillor  and  Kapellmeister  to 
the  Prince  Bishop,  there.  He  was  noted 
as  a  teacher,  and  formed  many  distinguished 
pupils.  Works  :  Melissa,  opera,  given  in 
Munich,  1739  ;  6  symphonies  for  two  vi- 
olins, viola,  bass,  two  horns,  and  two  trum- 
pets, op.  2  (Liege,  1760)  ;  do.,  op.  3  (Am- 
sterdam, 1761)  ;  do.,  op.  4  (Liege,  1762)  ; 
24  quartets  for  two  violins,  viola,  and  bass  ; 
18  trios  for  guitar,  violin,  and  violoncello  ; 
24  sonatas  for  two  violins  and  bass  ;  con- 
certo for  guitar,  with  two  violins,  viola,  and 
bass  ;  do.,  with  two  violins  and  bass  ;  mass- 
es, motets,  vespers,  litanies,  etc. — Fetis  ; 
Mendel  ;  Schilling. 

CAMIDGE,  JOHN,  born  in  York,  Eng- 
land, in  1790,  died  there,  Sept.  21,  1859. 
Organist  from  1844  of  York  Cathedral,  a 
position  which  his  father,  Matthew  Cam- 
idge  (1758-1844),  held  from  1803,  and  his 
grandfather,  John  Camidge  (1734-1803), 
from  1756.  He  was  graduated  at  Cam- 
bridge University  as  Bachelor  of  Music  in 


269 


CAMILLE 


1812,  and  as  Doctor  of  Music  in  1819  ;  and 
he  received  tbe  degree  of  Doctor  of  Music 
at  Lambeth  in  1855.  The  organ  of  York 
Cathedral,  one  of  the  largest  in  England, 
was  constructed  under  his  superintendence. 
Works :  Cathedral  music — a  service,  an- 
thems, and  fifty  double  chants  ;  six  glees 
for  three  and  four  voices,  etc. — Grove. 

CAMILLE,  EEINE  DES  VOLSQUES 
(Queen  of  the  Volsci),  lyric  tragedy  in  five 
acts,  with  prologue,  text  by  Danchet,  music 
bj'  Campra,  first  represented  at  the  Acade- 
mie  Royale  de  Musique,  Paris,  Nov.  9, 1717. 
Subject,  Camilla,  daughter  of  King  Metabus, 
of  the  Volscian  town  of  Privernuni,  who 
took  part  with  Turnus  against  JSneas  and 
was  slain  by  Aruns,  as  related  in  the  J3neid. 
Same  subject  treated  in  Camilla,  music  by 
Marco  Antonio  Bononcini,  represented  at 
Vienna  about  1692,  London,  1707  ;  and 
music  by  Fioravanti,  Italy,  1810  ;  and  in 
II  trionfo  di  Camilla,  i-egina  de'  Volsci,  music 
by  Leo,  Rome,  172G. 

CAMILLE,  ou  Le  Souterrain  (Tlie 
Vault),  opera-coraique  in  three  acts,  text 
by  Marsollier,  music  by  Dalayrac,  first  rep- 
resented at  the  Thoatre  des  Italiens,  Paris, 
March  19, 1791  ;  reproduced  in  1841:.  Sub- 
ject from  the  romance  of  "  Adole  et  Theo- 
dore," by  Mme  de  Genlis.  The  same  sub- 
ject is  treated  by  Paer,  but  less  happily,  in 
Camilla,  ossia  il  Sotterraneo,  text  bj'  Car- 
jaani,  Venice,  1799,  Vienna,  1801,  and  Paris, 
Opera  Italien,  Nov.  5,  1804. 

CAMILLUS,  the  famous  Roman  dictator 
(died  B.C.  3G5),  is  the  hero  of  the  following 
operas  :  Furio  Camillo,  music  by  Sabadini, 
Parma,  1C8G  ;  by  Perti,  Florence,  1692  ;  by 
Pacini,  Naples,  1841  ;  II  trionfo  di  Camillo, 
music  by  Ciampi,  London,  1750  ;  byGluck, 
Rome,  1754  ;  by  Porpora,  Naples,  1760  ; 
and  Le  triomphe  de  Camille,  music  by 
Champein,  written  in  Paris,  about  1800,  but 
not  performed. 

CAMMARANO,  LUIGI,  born  in  Naples 
in  the  early  part  of  this  century,  died  there 
in  1854.  Dramatic  composer,  author  of  the 
following  works  :  I  ciarlatani,  opera  buft'a. 


given  at  Naples,  Teatro  del  Fondo,  1839  ; 
II  ravvedimento,  ib.,  1840. — Fetis  ;  do.. 
Supplement,  i.  145  ;  Mendel. 

CAMPAGNOLI,  BARTOLOMEO,  born 
at  Cento,  near  Bologna,  Sept.  10,  1751,  died 
at  Neu-Strelitz,  Nov.  6,  1827.  Violinist, 
pupil  of  Dair  Occhia,  in  Modeua  of  Paolo 
Guastarobba,  and  in  Florence  of  Nardini. 
He  served  as  violinist  in  the  Pergola,  Flo- 
rence, and  after  leading  the  opera  bauds  in 
Florence  and  Rome  alternatelj'  for  some 
years,  became  in  1776  Kapellmeister  to  the 
Prince  Bishop  of  Freising,  Bavaria.  He 
was  violinist  to  the  Duke  of  Courland  in 
Dresden,  in  1778  ;  travelled  in  1783-86  in 
the  north  of  Europe ;  revisited  Italy  in 
1788,  was  conductor  at  Leipsic  from  1797 
to  1818;  and  visited  Paris  in  1801.  He 
wrote  many  concertos,  sonatas,  duos,  and 
fugues  for  violins,  and  published :  L'art 
d'in venter  ii  rimpro^iste  des  fantaisies  et 
des  cadences,  op.  17  ;  Sept  divertissements 
compost's  pour  I'exercice  des  sept  positions 
principales,  op.  18  ;  Nouvelle  niethode  de 
la  mecanique  progressive  du  jeu  du  violon, 
op.  21.  His  41  caprices  pour  I'alto-viola, 
op.  22,  is  of  importance  in  the  meagre  cata- 
logue of  viola  music. — Fi'tis  ;  Gerber  ;  Hart, 
The  VioHn,  242  ;  Chor.  et  Fay,,  i.  115  ;  Men- 
del ;  Schilling ;  Wasielewski,  Die  Violine 
und  ihre  Meister,  128. 

CAMPAJOLA,  FRANCESCO,  born  at 
Naples,  May  8,  1825,  still  living,  1888. 
Dramatic  composer,  pupil  of  Pasquale 
Mando,  and  at  the  Conservatorio  of  V. 
Fiado,  Mario  Aspa,  Carlo  Conti,  Busti,  Gug- 
lielmi  and  Mercadante.  Works :  Papa  Mu- 
linotto,  opera,  given  at  Naples  ;  L'  Olimpo, 
do.  ;  Igilda,  not  performed  ;  A  Mass,  and 
other  church  music  ;  Songs  and  pianoforte 
pieces. — Petis,  Supplement,  i.  145. 

CAMPANA,  FABIO,  born  at  Leghorn, 
Italy,  Jan.  14,  1819,  died  in  London,  Feb. 
7  (2  ?),  1882.  Dramatic  composer,  pupil 
of  the  musical  lyeeum,  Bologna.  About 
1850  he  settled  in  London,  where  he  taught 
vocal  music  for  many  years.  Works — Op- 
eras :    Caterina   di   Guisa,    given   at   Leg- 


CAM PANE  LL  A 


bora,  1838  ;  Giulio  (V  Este,  Rome,  Teatro 
Apollo,  1K41  ;  Vauiua  d'  Ornauo,  Florence, 
Teatro  della  Pergola, 
1842;  Luisa  cli  Fran- 
cia,  Rome,  1844  ;  Al- 
miiia,  London,  1860  ; 
Esmeralda,  St.  Peters- 
burg, 1869.  Cauzon- 
ettas,  romances,  melo- 
dies, duos,  etc.  (Pa- 
ris, Milan,  London). 
— Fetis,  Supplumeut, 
i.  145. 

CAMPANELLA,  FRANCESCO,  born  in 
Naples,  Italy,  Sept.  30,  1827,  still  living, 
1888.  Instrumental  and  vocal  composer, 
pupil  at  the  Conservatorio,  Naples,  of  Gen- 
naro  Parisi  in  liarmony,  of  Carlo  Conti  in 
counterpoint,  and  of  i\Iercadante  in  compo- 
sition. He  devoted  himself  to  teaching  the 
pianoforte  and  singing,  and  in  1855  became 
second  maestro  di  cappclla  at  the  Teatro 
Nuovo.  He  has  composed  cantatas,  sacred 
and  secular,  many  choruses,  songs,  and 
pianoforte  pieces,  and  part  of  the  music  of 
the  opera  buflfa  La  donna  romantica  (with 
Buonomo,  Ruggi,  and  Valente),  given  at  the 
Teatro  Nuovo,  1858. — Futis,  Supplement,  i. 
145. 

CA?*IPANELLI,  LUIGI,  bom  in  Florence 
in  1771,  died  ('?).  Violinist,  j)upil  of  Nardini. 
He  was  maestro  di  cappella  at  the  court  of 
Tuscany,  and  was  appointed  first  violinist 
at  the  court  of  the  King  of  Etruria,  in  1802. 
His  MS.  compositions,  known  throughout 
Italj',  consist  of  sonatas,  duos,  trios,  and 
quartets  for  violin. — Fetis  ;  Mendel. 

CAIMPANELLO  DI  NOTTE,  IL  (The 
Night  Bell),  operetta  in  one  act,  text  and 
music  by  Donizetti,  first  represented  in 
Naples,  1836.  It  was  written  to  save  a 
Neapolitan  manager  from  ruin.  Donizetti 
promised  that  he  should  have  an  operetta 
within  a  week,  but  be  had  no  libretto. 
Recollecting  the  plot  of  a  vaudeville,  called 
La  Sonnette  de  Nuit,  which  lie  had  seen  in 
Paris  several  years  before,  he  adapted  that, 
and  set  it  to  music,  and  in  nine  davs  it  was 


successfulh'  performed  and  the  theatre 
saved.  In  1864  it  was  reproduced  *in  St. 
Petersburg  with  much  favour. 

CAMPBELL,  ALEXANDER,  born  near 
Callander,  Perthshire,  Scotland,  Feb.  22, 
1764,  died  in  Edinburgh,  May  15,  1824. 
Organist,  and  composer  of  songs  which  he 
published  in  two  collections :  one  with  an 
accompaniment  for  the  violin  (1792),  the 
other  with  a  harp  accompaniment,  publish- 
ed later.  In  1816  he  published  Vol.  I.  of 
Albyn's  Aiithologj-.^ — Grove  ;  Fetis  ;  Mendel. 

CAMP  DE  GRANDPRE,  LE,  ou  Le  Tri- 
omplie  de  la  Republique,  opera  in  one  act, 
text  by  Joseph  Cheiiier,  music  by  Gossec,  reji- 
resented  at  the  Opera,  Paris,  Jan.  27,  1793. 
Composed  in  honour  of  the  defenders  of  the 
country  in  1792,  after  the  Prussians  and 
Austrians  had  been  driven  out  of  Cham- 
pagne. It  was  preceded  by  a  popular  song 
by  the  same  authors,  entitled  "Ronde  du 
camp  de  Grand-Pro,"  which  was  sung  eveiy- 
wliere  to  the  accompaniment  of  clarinets, 
horns,  and  bassoons. 

CAMP  DE  SOBIESKI,  LE,  opera-co- 
mique  in  two  acts,  text  by  Dupaty,  music 
l)y  Kreutzer,  represented  at  the  Theatre 
Feydeau,  Paris,  April  21,  1813. 

CAMP  DU  DRAP  D'OR,  LE  (Camp  of 
the  Cloth  of  Gold),  opera-comique  in  three 
acts,  text  by  Paul  de  Kock,  music  by  Rifaut, 
Leborne,  and  Batton,  represented  at  the 
Opera  Comique,  Paris,  Feb.  23,  1828. 

CA5IPELLI,  CARLO,  lived  at  Siena 
about  the  end  of  the  17th  century.  He 
was  the  author  of  an  opera.  Amor  fra  gl' 
impossibili,  represented  in  Siena,  1693. — 
Fetis  ;  Chor.  et  Fay.,  Diet,  des  Mus.,  i.  115  ; 
Mendel. 

CAMPENHOUT,  FRANgOIS  VAN,  born 
in  Brussels  in  1780,  died  there,  April  24, 
1848.  Dramatic  composer  and  tenor,  pupil 
in  singing  of  Plantade  at  The  Hague  (1807), 
and  in  harmony  and  composition  of  Navoi- 
gille,  the  elder,  and  of  Saint-Amand  at  Am- 
sterdam (1808),  having  at  first  studied  the 
violin  under  Pauwels  at  Brussels,  and  en- 
tered the  orchestra  of  the  Theatre  de  la 


361 


CAMPION 


Monnaie.  Soon  after  he  went  ou  the  stage 
as  a  tenor  singer,  first  at  Ghent,  then  at 
Brussels,  Antwerp,  Brest  (1801-3),  Paris 
(1804,  18U,  and  1824),  Amsterdam,  The 
Hague  (1807  and  1826),  Rouen  (1809-12), 
Lyons  (18U-1G),  Bordeaux  (1816-18),  etc., 
and  ended  his  career  as  a  singer  at  Ghent  in 
1827,  settling  at  Brussels  in  1828  to  devote 
himself  to  composition.  He  is  the  composer 
of  the  Brabanronne  (1830).  Works — OjJ- 
eras  :  Grotius,  ou  Le  chateau  de  LiJwen- 
stein,  given  at  Amsterdam,  1808  ;  Le  passe- 
partout, Lyons,  1814;  L'heureux  mensonge, 
Bordeaux,  1819  ;  Les  quatre  journees;  Gil- 
lette de  Narbonue ;  Therese,  ou  La  femme 
du  pecheur  de  Sorreute  ;  Diane  at  Endy- 
rniou,  ballet,  Bordeaux,  1819  ;  Choeurs  d'A- 
thalie  (Rouen,  1809)  ;  Le  reprouve,  lyric 
scene  for  baritone,  chorus,  and  orchestra  ; 
9  cantatas  with  orchestra  (1806-47)  ;  Cho- 
ruses with  and  without  orchestra  ;  La  tem- 
pete,  ou  Une  nuit  en  mer,  scene  for  baritone 
and  chorus,  1846  ;  3  masses  for  4  voices, 
chorus,  and  orchestra,  executed  at  Sainte- 
Gudule,  Brussels  ;  Te  Deums,  Tantum  ergo, 
psalms,  etc. ;  Nocturnes,  romances,  and  songs 
for  one  and  two  voices,  with  pianoforte. 
— Fetis  ;  do..  Supplement,  i.  145  ;  Mendel. 

CAMPION  (Campian),  THOMAS,  com- 
jjoser,  in  the  earlier  part  of  the  17th  cen- 
tury, died  in  London,  February,  1619.  He 
published  :  Observations  on  the  Art  of  Eng- 
lish Poesie  (1602)  ;  Two  bookes  of  Ayre.s, 
The  First  contayning  Divine  and  Morall 
Songs,  The  Second,  Light  Conceits  of  Lov- 
ers, To  be  sung  to  the  Lute  and  viols  in 
two,  three,  or  four  parts  ;  or  by  one  Voyce 
to  an  Instrument  (1610)  ;  Ayres  for  the 
Masque  of  Flowers,  etc.  (1613)  ;  A  New 
Way  of  making  Four  parts  in  Counter-point 
by  a  most  Familiar  and  Infallible  Rule 
(about  1618),  was  annotated  by  Christojiher 
Symp.son  in  a  second  edition  (1655).  He 
wrote  for  all  the  masques  and  court  cere- 
monies of  his  day,  giving  quaint  and  long 
titles  to  his  compositions. — Grove  ;  Fetis. 

CAMPIONI,  CARLO  ANTONIO,  born 
in  Leghorn,   Italy,    about   1720,    died  (?). 


Composer  of  church  music,  and  of  a  cele- 
brated Te  Deum  mentioned  by  Burney,  who 
heard  it  jjerformed  in  Italy  by  two  hundred 
musicians  (1767).  He  was  maestro  di  cap- 
pella  to  the  Grand  Duke  of  Tuscany.  His 
works  were  published  in  England,  Ger- 
many, and  Holland  ;  his  violin  duets  in 
seven  volumes. — Fetis  ;  Mendel  ;  Schilling. 
CAMPISI,  DOMENICO,  born  at  Regal- 
buto,  Sicily,  about  the  end  of  the  16th  cen- 
tury. A  Dominican  monk  who  was  made 
professor  of  theology  to  his  order  in  1629. 
Mongitore  (Bibl.  Sicul.,  i.  166)  saj's  he  was 
a  clever  composer,  and  gives  the  following 
list  of  his  works  :  Motetti  a  due,  tre  e  quat- 
tro  voci,  con  una  computa,  lib.  i.,  Palermo 
(1615)  ;  Motetti  a  due,  etc.,  lib.  ii.  (ib., 
1618)  ;  Floridus  concentus  binis,  ternis, 
quaternis,  et  quinis  vocibus  modulandus 
(Rome,  1622)  ;  Lilia  campi,  binis,  ternis, 
quaternis,  etc.  (ib.,  1623)  ;  Lilia  campi,  sen 
Motetti  et  Laudi  de  B. 
1627).— Fetis  ;  Mendel. 
CAMP  OF  SILESIA. 
Schlesien. 

CAMPRA,  ANDRE,  born  at  Aix,  Pro- 
vence, Dee.  4, 
1660,  died  at 
Versailles,  July 
29,  1744.  Dra- 
matic composer. 
He  was  at  first  a 
chorister  in  the 
Cathedral  of 
Aix,  then  maitre 
dechapelleofthe 
Toulon  Cathe- 
dral in  1679  ;  at 
Aries  in  1681,  and  at  Toulouse  from  1683 
to  1694,  when  he  went  to  Paris,  and  became 
maestro  at  the  college  chapel  of  the  Jesuits 
and  maitre  de  musique  at  Notre  Dame.  He 
was  also  master  of  the  Royal  Chapel,  and 
director  of  music  to  the  Prince  de  Conti. 
Next  to  Lulli  he  was  considered  the  best 
dramatic  composer  of  France,  a  supremacy 
which  he  held  until  the  time  of  Rameau. 
Works — Operas,  given  in  Paris,  Academie 


V.   M.,   etc.    (ib.. 
See  Feldlager  in 


202 


CAMPS 


Royale  de  Musique  :  L'Europe  galante 
(ope'ra-ballet),  1G97  ;  Le  Carnaval  de  Veuise 
(do.),  1699  ;  ArOthuse  (do.),  1701;  Hi-done, 
1700  ;  Taucrude,  1702  ;  Les  Muses  (ballet), 
1703  ;  Iphigenie  en  Tauride  (with  Desma- 
rest),  Telcmaquo,  1704: ;  Alcine,  Le  triomphe 
de  ramour,  1705  ;  Hipijodamie,  1700  ;  Les 
fetes  venitiennes  (opera-ballet),  1710  ;  Ido- 
luenee,  Les  amours  de  Mars  et  Venus 
(opw-a-ballet),  1712  ;  Ti'K'phe,  1713  ;  Ga- 
mille,  1717  ;  Les  ages  (opera-ballet),  1718  ; 
Acbille  et  Deidamie,  1735.  The  followiug 
ballets  and  divertissements  were  written  for 
the  court :  Venus,  1698  ;  Le  destin  du 
uouveau  siecle,  1700 ;  Les  fetes  de  Co- 
rintbe,  1717  ;  La  fete  de  I'ile  Adam,  1722  ; 
Les  Muses  rassemblees  par  I'Amour,  1723  ; 
Le  genie  de  la  Bourgogne,  1732 ;  Les  noces 
de  Venus,  1740.  He  published  three  books 
of  cantatas  (1708)  ;  Five  books  of  motets 
(1706,  1710,  1713).— Pougin,  Andre  Cam- 
pra  (Paris,  1861)  ;  Fetis  ;  do.,  Supplement, 
i.  146  ;  Burney,  iv.  607  ;  Mendel ;  do.,  Er- 
ganz.,  53  ;  Riemann. 

CAMPS  Y  SOLEE,  OSCAR,  born,  of 
Spanish  parents,  at  Alexandria,  Egypt,  Nov. 
21,  1837,  still  living,  1888.  Pianist,  pupil 
at  Florence,  of  Doehler,  and  studied  coun- 
terpoint and  composition  at  Naples  under 
Mercadante.  Works  :  Gran  cantata  for 
three  voices,  which  was  brought  out  at 
Madrid,  and  a  number  of  vocal  pieces  and 
pieces  for  pianoforte.  He  has  written  also 
theoretical  works. — Fetis,  Supplement,  i. 
147  ;  Riemann,  145  ;  Mendel,  Ergiiuz.,  53. 

CAMUS,  ANDRE,  born  in  Paris  in  1731, 
died  there  in  1777.  Tenor  singer,  and 
composer  of  church  music.  He  was  at  first 
a  page  and  one  of  the  court  musicians  to 
the  King,  and  a  pupil  of  the  Abbe  Madin. 
In  1746,  when  he  was  only  fifteen  years  old, 
his  first  success  was  gained  by  the  perform- 
ance of  his  psalm,  Qui  confidunt  in  Domino. 
The  beauty  of  his  voice  procured  him  the 
position  of  tenor  in  the  Royal  Chapel. — ^Fe- 
tis ;  Mendel. 

CAMUS,  PAUL  HIPPOLYTE,  born  in 
Paris,  Jan.  26,  1796,  died  (?).     Celebrated 


flutist  and  composer  for  his  instrument ; 
pupil  of  Wunderlich  at  the  Conservatoire, 
Paris,  in  1806.  Became  first  flute  at  sev- 
eral of  the  important  theatres  of  Paris,  and 
at  last  entered  the  orchestra  of  the  Italian 
Opera.  Works  :  Duos  pour  deux  flutes,  op. 
2  ;  Trois  grands  duos,  liv.  2  ;  Fantaisie  sur 
un  air  ecossais  pour  flute  et  piano  ;  Trois 
grands  duos  pour  flilte,  op.  11  ;  24  sere- 
nades composees  d'airs  nationaux  varies,  op. 
1  (Paris),  and  many  others  mentioned  by 
Fetis. — Fetis  ;  Schilling. 

CANDEILLE,  PIERRE  JOSEPH,  born 
at  Estaires,  Flanders,  Dec.  8,  1744,  died  at 
Chantilly,  April  24,  1827.  Dramatic  com- 
poser, pupil  at  the  Royal  Academy,  where 
he  was  afterwards  instructor.  Among  his 
works  are  several  opei-atic  arrangements  of 
well-known  poems,  such  as  Laure  et  Pe- 
trarque,  1780,  and  many  new  arrange- 
ments of  old  operas.  His  operas  did  not 
fulfil  the  promise  of  his  motets,  given  at 
the  Concerts  Spirituels.  Works— Operas  : 
Laure  et  Petrarque,  given  at  court,  1778  ; 
Pizarre,  ou  la  Conquete  du  Perou,  Opera, 
1785  ;  La  Mort  de  Beaurepaire  ;  Les  fetes 
Grecques  et  Roniaines,  1777  ;  L'Amour  et 
Psyche  (1780)  ;  Lausus  et  Lydie  (1786);  La- 
dislas  et  Adelaide  (1791)  ;  Les  jeux  Olym- 
piques  ;  Brutus  (1793).— Fetis  ;  Mendel. 

CANETTI,  FRANCESCO,  born  at  Cre- 
ma,  Lombardy,  about  the  middle  of  the  18th 
century,  still  living  in  1812.  Dramatic  com- 
poser, maestro  di  cappella  of  the  Cathedral 
of  Brescia,  and  one  of  the  eight  members  of 
the  musical  department  of  the  Institute  of 
Italj'.  He  produced  an  opei-a  buffa,  1'  Ima- 
ginario,  at  Brescia  in  1784.  He  is  also 
known  by  a  Mass  for  eight  real  voices,  in 
the  style  of  fugued  counterpoint,  which  is 
considered  a  masterpiece. — Fetis  ;  Mendel. 

CANIS,  CORNEILLE,  born  in  Ghent, 
flourished  in  the  16tli  century,  died  before 
1556.  Singing  master  of  Notre  Dame,  Ant- 
werp. Works :  Canons  published  in  the 
Antwerp  and  Louvain  collections  of  songs, 
printed  about  1544.  Dr.  Burney  quotes 
also  a  French  song,   "  Ta  bonne   grace  et 


263 


CANNABICH 


maintien  gracieux." — Biog.  nat.  de  Belg., 
iii.  286  ;  Fotis  ;  Meudel ;  do.,  Ergiinz.,  53. 

CANNABICH,  CAKL,  born  in  Maiiuheim 
in  1769,  died  in  Munich,  May  1,  1806. 
Dramatic  composer  and  violinist,  son  and 
pupil  of  Christian  Cannabich  ;  studied  the 
violin  under  Eck,  liarmony  under  Griitz, 
and  composition  in  Italy  under  P.  Win- 
ter. He  was  Musik-Director  at  Fraukfort- 
on-the-Main,  179G-1800,  and  succeeded  his 
father  in  1798,  in  Munich,  as  director  of 
court  concerts.  lu  1805  he  was  sent  by  his 
government  to  Paris  to  study  the  method 
of  teaching  at  the  Conservatoire.  Works  : 
Orpheus,  Palmer  und  Amalie,  operas,  given 
in  Munich,  1800 ;  Gediichtnissfeyer  Mo- 
zarts,  cantata  (Hamburg,  1797) ;  Deutsche 
Lieder  (Munich,  1798) ;  14:  variations  for 
harjjsichord  on  the  air,  A  Schiisserl  uud  a 
Keindl  (Munich,  1798)  ;  Variations  for  harp- 
sichord, No.  2  (Munich,  1799)  ;  Trios  for  2 
violins  and  viola,  op.  3  ;  Duos  for  flute  and 
violin,  op.  4 ;  Cauzonette  for  3  and  4  vio- 
lins (Munich,  1801) ;  Overtures,  symphonies, 
concertos,  etc. — Allgem.  d.  Biogr.,  iii.  760  ; 
Allgem.  mus.  Zeitg.,  viii.  529,  554  ;  Fctis  ; 
Gerber. 

CANNABICH,  CHRISTIAN,  born  at 
Mannheim  in  1731  (1742 '?),  died  in  Frank- 
fort-on-the-Main,  in  1798.  Dramatic  com- 
poser and  violinist,  pupil  of  Johaun  Stamitz, 
then  studied  for  three  years  in  Italj',  chiefly 
under  Jommelli,  and  returned  to  INIannheim 
iu  1763.  He  was  made  Conzertmeister  and 
conductor  of  the  Italian  opera  in  1765,  mu- 
sical director  in  1775,  and  in  the  same  ca- 
pacity removed  with  the  court  to  Munich 
iu  1778.  He  was  one  of  the  foremost  solo- 
violinists  of  Germany,  and  excelled  still 
more  as  a  teacher  of  his  instrument  and  as 
an  orchestra  conductor.  Works — Operas: 
Azakia,  given  at  Mannheim,  1778  ;  La  Croi- 
sce,  Paris,  1788 ;  Elektra,  Angelica  (operet- 
ta), Munich,  1792  ;  La  descente  d'Hercule 
aux  enfcrs,  ballet ;  Corthey  und  Thelaire,  do., 
Munich,  Berlin,  1794  ;  other  ballets  ;  3  sym- 
phonies for  grand  orchestra ;  6  quartets 
for  violin,  flute,  viola,  and  bass,  op.  1  (The 


I  Hague)  ;  6  trios  for  two  violins  and  violon- 
cello, op.  3  (Mannheim)  ;  6  duos  for  flute 
and  violin,  op.  4  (ib.,  1767)  ;  6  quartets  for 
two  violins,  viola,  and  bass,  op.  5  (Mann- 
heim) ;  3  concertos  for  violin  solo,  two  vio- 
lins, viola,  and  bass  ;  6  symphonies  coucer- 
tautes  for  two  flutes,  two  violins,  viola,  and 
bass,  oj).  7  (Paris,  1769). — Allgem.  d.  Biogr., 
iii.  759  ;  Fetis  ;  Mendel ;  Schilling. 

CANNETI,  FRANCESCO,  born  at  Vi- 
cenza,  Italy,  in  1809,  died  there,  August, 
1884.  Dramatic  and  church  composer, 
pupil  of  Pilotti  at  Bologna.  Works  :  Emilia, 
opera,  Vieenza,  1830  ;  Francesca  da  Rimini, 
do.,  ib.,  1843  ;  Requiem  Mass  (Milan,  Luc- 
ca) ;  Tan  turn  Ergo  for  six  voices  (ib.). — Fetis, 
Supjilement,  i.  147. 

CANNICIARI,  Don  POMPEO,  flourished 
in  the  beginning  of  the  18th  century,  died 
in  Rome,  Dec.  29,  1744.  Maestro  at  S.  ^L 
Maggiore  from  1709  till  his  death.  He  be- 
queathed his  large  musical  library  to  that 
basilica,  but  it  was  eventually  disisersed. 
Several  of  his  pieces  are  in  the  Santini 
Library,  notably  :  3  masses  for  four,  and 
1  for  five,  6  for  eight,  and  4  for  sixteen 
voices ;  4  motets  for  four,  and  10  for 
eight  voices  ;  2  Magnificats  for  four  voices, 
with  organ  accompaniment ;  and  an  Ave 
IMaria  for  eight  voices. — Grove ;  Futis ; 
Mendel. 

CANOBY,  GUSTAVE,  born  (in  France  ?) 
about  1830,  still  living,  1888  (?).  Dramatic 
composer,  pujiil  at  the  Conservatoire,  Paris  ; 
became  maitre  de  chajaelle  of  the  church  at 
Passy.  W^orks  :  La  medaille,  Un  drame  en 
I'air,  operettas,  given  at  the  Boufl'es  Pari- 
sieus,  1865  ;  La  coupe  et  les  levres,  grand 
ojjera. — Fc'tis,  Supplement,  i.  147. 

CANOGIA,  JOSE  AVELINO,  born  at 
Oeiras,  Portugal,  Nov.  10,  1784,  died  in 
Lisbon  in  1842.  Clarinet  player,^3rofessor 
iu  the  Lisbon  Conservatorio.  He  played 
with  success  in  Paris,  London,  and  other 
cities,  and  wrote  concertos,  fantasias,  and 
variations  for  his  instrument,  published  in 
Paris  and  London. — Futi.s,  Supplement,  i. 
148  ;  Mendel,  Erganz.,  53. 


264 


CAXTATA 


CANTATA  FESTO  ASCENSIONIS 
CHRLSTI.  See  Her  da  glaubet  uud  ge- 
tauft  wird. 

CANTATA  PEE  OGNI  TEMPO.  See 
Ich  hatte  viel  Bekiimnierniss. 

CANTIA3I0,  FACCIAM  BRINDISI.  See 
Elisire  d'  Aniore. 

CANTONE,  Padre  SERAFINO,  born  in 
Milan  about  the  end  of  the  IGth  centiuT, 
died  (?).  Organist  of  the  Cathedral  of  Mil- 
an. A  monk  of  the  Monasterj'  of  S.  Sim- 
plic-iauo,  he  was  one  of  the  first  composers 
to  introduce  concerted  pieces  in  the  tlorid 
style.  Several  of  his  canzonets,  cantatas,  and 
motets  are  given  by  Fetis,  and  Bodenschatz 
has  inserted  one  of  his  motets  for  eight 
voices  in  Florilegium  Portense. —Fetis; 
Mendel. 

CANUTI,  GIOVANNI  ANTONIO,  Italian 
composer  of  the  18th  century,  born  at 
Lucca.  He  brought  out  an  opera,  entitled 
Eodelinda,  at  Lucca  in  1724 — Fetis,  Sup- 
plement, i.  148. 

CANZONA  DI  RINGRAZIAMENTO  in 
modo  lidico,  offerta  alia  divinita  da  un 
guarito  (Song  of  thanksgiving  in  the  Ly- 
dian  mode,  offered  to  the  Deity  by  one 
cured  of  sickness).  The  title  of  the  third 
movement,  Molto  adagio,  of  Beethoven's 
string  quartet  in  A  minor,  op.  132. 

CAPECE,  ALESSANDRO,  born  at  Te- 
rena,  in  the  Abruzzi,  in  the  middle  of  the  IGth 
century,  died  (?).  Maestro  di  cappella  of  the 
cathedral  of  Ferra  under  Cardinal  Mazo- 
letto.  Works  :  II  Primo  libro  de'  Madrigali 
a  quattro,  cinque  et  otto  vooi,  op.  5  (Rome, 
IGIG).  Otto  Magnificat  sopra  li  tuoni  dell' 
Ecclesia,  op.  4  (Venice,  IGlG)  ;  Sacri  con- 
certi  d'  un  vago  e  nuovo  stile,  a  2,  3  e  4  voci, 
op.  10.  Fetis  gives  a  long  list  of  other 
works. — Fetis  ;  Mendel. 

CAPECELATRO,  VINCENZO,  born  in 
Naples  in  1815,  died  in  Florence,  Oct.  7, 
1874.  Dramatic  composer,  pujiil  of  the 
Conservatorio  of  San  Pietro,  Naples.  Works 
— Operas  :  La  mansarde  des  artistes,  given 
at  Naples,  1837  ;  Mortedo,  Naples,  1847  ; 
Gaston  de   Cleauley,  Florence,  1855.     He 


went  to  Paris,  became  a  singing  teacher, 
and  published  there  a  collection  of  roman- 
ces and  nocturnes  entitled :  L'Echo  de  Sor- 
rente.  He  also  published  music  for  the 
2)ianoforte  ut  Milan. — Ft'tis  ;  do.,  Supple- 
ment, i.  148  ;  Mendel,  Ergiiuz.,  54. 

CAPELLETTI,  CARLO,  Bolognese  dra- 
matic composer,  contemjsorary.  He  is  a 
pupil  of  Mattel,  and  member  of  the  Acea- 
demia  Filarmonica.  Works — Operas  :  La 
contessina,  given  in  Bologna,  1830  ;  L' 
amor  mulinaro,  Ferrara,  1837;  II  sindaco 
burlato,  Bologna,  1844  ;  La  capanua  Mos- 
covita. — Fetis  ;  do.,  Supplement,  i.  140  ; 
Mendel. 

CAPELLO,  Al)l>ate  GIOVANNI  MA- 
RIA, born  in  Parma  in  the  17tli  century, 
died  there  in  1728.  Dramatic  composer, 
canon  of  the  Cathedral,  and  comj)oser  to 
the  court  of  Parma.  Works  —  Operas  : 
Rosalinda,  given  in  Venice,  1G92  ;  Climene, 
Rovigo,  1700  ;  Griselda,  ib.,  1710  ;  Giulio 
Flavio  Crispo,  Venice,  1722  ;  Mitridate,  re 
di  Ponto,  ib.,  1723.— Fetis  ;  Mendel. 

CAPELLO,  GIOVANNI  UXBlk,  born 
in  Venice  about  the  end  of  the  IGth  cen- 
tury. Organist  of  S.  M.  delle  Grazie,  Bre- 
scia. He  was  the  author  of  thirteen  books 
of  masses  and  psalms,  the  ninth  of  which 
was  published  at  Venice  in  IGIG. — Fetis  ; 
Mendel. 

CAPILUPI,  GEMINIANO,  born  in  Mo- 
dena,  about  1560,  died  there,  Aug.  31, 
IGIG.  Vocal  composer,  j^upil  of  Orazio 
Vecchi.  Little  of  his  history  is  known,  but 
according  to  Spaccini  and  Tiraboschi,  he 
intrigued  in  1G04  to  displace  Vecchi,  his 
master,  as  maestro  of  the  Cathedral  of  Mo- 
dena.  Works  :  Motetti  a  G  e  8  voci,  libro 
primo  (1G03)  ;  Madrigali  a  cinque  voci, 
libro  1  et  2  (1G08).  A  collection  of  thirty 
pieces,  canzonets  for  3  voices,  bj-  Capilupi 
and  Vecchi  are  in  the  Liegnitz  Library. 
— Fetis  ;  Mendel. 

CAPITAINE  FRACASSE,  LE,  opera- 
comique  in  three  acts  and  six  tableaux, 
text  by  Catulle  Mendes,  music  by  Emile 
Pessard,  first  represented   at  the  Theatre 


865 


CAPITAINE 


Lyrique,  Paris,  July  2,  1878.  The  libretto 
is  au  udaptiitiou  of  Tbeopbile  Gautier's 
liovel  of  the  same  title  (1863). 

CAPITAINE  HENRIOT,  LE,  opera-com- 
ique  in  three  acts,  text  by  Giistave  Vaez  and 
Victorieu  Sardou,  music  by  Gevaeit,  repre- 
sented at  the  Opera  Coniique,  Paris,  Dec. 
29,  1864.  The  libretto,  left  unfinished  by 
Vaez,  was  finished  by  Sardou.  Capitaine 
Heuriot  is  Henri  IV.,  and  the  time  is  1570, 
during  the  siege  of  Paris. 

CAPOANI,  GIOVANNI  FRANCESCO, 
born  at  Bari,  lived  about  1550.  History 
unknown  ;  several  of  his  comjiositious  are 
in  the  first  book  of  the  "Authors  of  Bari," 
jniblished  by  Antiquis  at  Venice,  in  1585. 
— Fetis  ;  Mendel. 

CAPOLLINI,  MICHELANGELO,  Ital- 
ian composer  of  the  17tli  century.  He 
wrote  the  music  to  a  sacred  drama  entitled : 
Lamento  di  Maria  Vergine,  acconipagnato 
delle  Lagrime  di  Santa  Maria  Maddalena  e 
di  S.  Giovanni  per  la  morte  di  Gesu  Chris- 
to,  rajipresentato  in  musica  in  stile  recitativo 
nella  chiesa  de'  Santi  Innocenti  di  Mantua 
(16-27).— Fetis  ;  Mendel,  ii.  310. 

CAPOTORTI,  LUIGI,  born  at  Molfetta, 
Italy,  in  1767,  died  at  San  Severo  in  1842. 
Dramatic  composer,  pupil  at  the  Conserva- 
torio  di  S.  Ouofrio.  Works — Operas  :  L' 
impegno  sujierato,  given  at  Naples,  1802  ; 
Obedde  ed  Alamaro,  ib.,  1808  ;  Giro,  and 
Enea  in  Cartagiue,  ib.,  1805  ;  Bref  il  sordo, 
Naples  and  Rome,  1813 ;  Marco  Curzio, 
Naples,  1813  ;  Ernesta  e  Carlino,  ib.,  1815. 
He  wi'ote  also  a  grand  cantata,  given  at 
Naples,  composed  to  Ricci's  words. — Fe- 
tis; do.,  Supplement,  i.  1-lfl  ;  Mendel. 

CAPPONI,  GIOVANNI  ANGELO,  lived 
in  the  17th  century.  He  publisLed  a  col- 
lection of  masses  and  psalms  for  eight 
voice.s,  and  a  miserere  for  nine  voices 
(Rome,  1650) ;  Litanies  and  psalms  for  five 
voices  (ib.,  16,54).— Fetis  ;  Mendel. 

CAPPDS,  JEAN  BAPTISTE,  born  in  Di- 
jon, France,  about  the  beginning  of  the 
18tb  century,  died  about  1770.  He  was 
maitre  de  musique  at  the  Dijon  Academy. 


Works  :  Premier  livre  de  pieces  de  viole  et 
de  basse  continue  (Paris,  1730)  ;  Premier 
recueil  d'airs  serieux  et  a  boire  (Paris, 
1732) ;  2d  recueil  (ib.),  Semele,  ou  la  nais- 
sance  de  Bacchus,  cantate  a  deux  voix  avec 
symphonies  (1732)  ;  Plaisirs  de  I'hiver 
(1730),  plaj-ed  at  Versailles  before  the 
Queen  ;  Methode  de  Musique. — Fetis  ;  Men- 
del. 

CAPRANICA,  MATTEO,  born  in  Rome, 
lived  about  the  middle  of  the  18th  century. 
His  opera,  Aristodemo,  was  played  at  the 
Argentina  Theatre,  Rome,  in  1746.  He 
finished  the  opera  of  La  finta  Frascatana, 
which  Leo  left  incomplete  at  his  death. 
Reichardt  also  makes  mention  of  a  Salve 
Regina  for  soprano,  with  an  accompaniment 
for  stringed  instruments,  written  by  Capra- 
nica. — Fetis;  Mendel. 

CAPRON, ,  violinist,  pupil  of  Ga- 

vinies,  first  appeared  at  a  Concert  Sjjirituel 
in  1768.  He  published  six  sonatas  for  the 
violin,  op.  1 ;  and  in  1770,  six  quartets,  op. 
2  (1769).— Fetis. 

CAPTIVE,  LA,  reverie  for  a  contralto 
voice  with  orchestra,  by  Hector  Berlioz,  op. 
12,  to  words  by  Victor  Hugo.  Published 
in  full  score,  and  pianoforte  score,  by  Ri- 
chault,  Paris. 

CAPUANA,  MARIO,  maestro  di  cappella 
of  the  Senate  and  of  the  Cathedral  of  Noto, 
Sicily,  about  the  middle  of  the  17th  century. 
Works :  Motetti  a  2,  3,  4,  e  5  voci,  op.  3 
(Venice,  1649) ;  Messa  de'  Defonti,  a  4  voci 
(ib.,  1650).— Fetis. 

CAPUANO,  GIUSEPPE,  born  in  Naples, 
March  3,  1830,  still  Hving,  1888.  Pupil  of 
Giuseppe  Correggio.  He  has  written  masses 
and  much  church  music,  and  is  the  author 
of  a  musical  treatise  entitled  :  Un  nouveau 
livre. — Fetis,  Supplement,  i.  150  ;  Mendel, 
Ergiinz.,  54. 

CAPULETTI  ED  I  MONTECCHI,  I 
(The  Capulets  and  the  Montagues),  Italian 
opera  in  three  acts,  text  by  Romani,  music 
by  Bellini,  first  represented  at  La  Fenice, 
Venice,  March  12,  1830,  in  Paris,  Jan.  10, 
1833,  and  at  the  King's  Theatre,  London, 


CAPUTI 


July  20,  1833.  Libretto  from  Shakespeare's 
"  Eomeo  aud  Juliet."  The  music  was  writ- 
ten in  fifteen  days  to  relieve  the  manager  of 
the  Venice  theatre  from  difficulty,  and  the 
work  proved  a  decided  success.  The  role 
of  Tebaldo  was  cast  for  Rubini,  and  the 
parts  of  Romeo  and  of  Juliet  for  Giuditta 
and  Giulia  Grisi.  In  Paris  and  in  London 
Romeo  was  sung  by  Mine  Pasta.  This  opera 
is  usually  given  with  a  fourth  act,  added 
by  Vaccai.     See  Romeo  et  Juliette. 

CAPUTI,  ANTOINE,  Italian  composer 
who  lived  in  1754.  He  settled  in  Germany, 
where  he  produced  an  opera,  Didone  ab- 
bandonata.  He  composed  also  in  1760  a 
concerto  for  flute  which  remains  in  MS. 
— Fetis  ;  Mendel. 

CAPUZZI,  GIUSEPPE  ANTONIO,  born 
in  Brescia,  in  174:0,  died  in  Bergamo,  March 
28, 1818.  Dramatic  composer  aud  violinist ; 
pupil  of  Nazari,  and  in  composition  of  Ber- 
toni.  In  1790  he  produced  in  London  a 
ballet,  La  villageoise  enlevoe,  ou  les  cor- 
saires.  Other  works  :  3  books  of  quintets  ; 
2  books  of  quartets;  2  violin  concertos 
(Venice). — Fetis  ;  do.,  Suppk'ment,  i.  150  ; 
Mendel. 

CARACCIOLO,  LUIGI,  born  at  Audria 
(Bari),  Italy,  Aug.  10,  1849,  died  in  London, 
Aug.  2,  1887.  Dramatic  composer,  pupil  at 
the  Naples  Conservatorio  in  18G3  ;  studied 
the  organ  and  harmony  under  Carlo  Conti 
and  Mercadante  ;  settled  in  London  as  vocal 
teacher.  Works:  Goffredo  sotto  le  niura 
di  Gerusalemme,  cantata,  Naples  ;  Maso  il 
Montanaro,  opera,  Bari,  1874  ;  many  songs. 
— Fetis,  Supplement,  i.  150. 
■■  CARACCIOLO,  PASQUALE,  IMarcliese 
d'  Arena  and  Duca  di  Sorrento,  flourished, 
probably  at  Naples,  about  the  end  of  the 
18th  and  the  early  part  of  the  present 
century.  Amateur  composer  of  church 
and  chamber  music.  Works :  II  ritorno, 
cantata  for  three  voices  ;  II  flnto  pastore, 
do. ;  L'  amor  costante,  do. ;  Coriolano,  do. 
for  four  voices  ;  Cantata  for  tenor  and  bass  ; 
do.  for  three  voices,  chorus,  and  orchestra, 
performed  at  the  Palazzo  Calabritto,  Naples, 


1816  ;  2  masses  with  full  orchestra ;  Dixit 
Doniinus,  Salve  Regina,  Magnificat,  Credo, 
Tantuni  Ergo,  with  do.;  2  motets  for  two 
choruses  aud  orchestra  ;  Quartet  for  piano- 
forte, flute,  clarinet,  and  viola ;  Nocturne 
for  violas  and  wind  instruments. — Fetis. 

CARACTACUS,  English  drama,  test  by 
Mason,  music  by  Thomas  Augustine  Ariie, 
represented  in  London,  1776.  This  was  Dr. 
Ai-ne's  last  dramatic  composition.  A  dra- 
matic ballet,  music  by  Henry  R.  Bishop, 
was  given  in  London,  1806.  Carattaco, 
Italian  opera,  music  by  Johann  Christian 
Bach,  London,  1767  ;  lyric  tragedy,  text  by 
Peretti,  music  by  Catelani,  Modena,  1841. 

CAR.AI^A,  M.\RZIO  GAETANO,  Prince 
of  Colobrano  aud  Duke  of  Alvito,  born  at 
Naples  in  1798,  died  (?).  Amateur  composer 
of  church  and  chamber  music ;  cousin  of 
Michele  Carafa  ;  pupil  of  Gabriele  Prota,  of 
Salini  (1808),  and  of  Fioravanti  (1811). 
Works  :  Miserere  for  four  voices  (1819)  ; 
Dafne,  cantata  for  four  voices  and  orchestra 
(1819);  Requiem  mass  for  tw'elve  voices 
and  orchestra  (1821)  ;  do.  for  four  male 
voices  ;  Miserere  for  eight  do.  ;  Choruses 
to  ]\Ianzoni's  tragedy  II  Conte  della  Carma- 
gnola  ;  do.  to  Adelchi ;  two  paraphrases  of 
Christus,  for  six  male  voices  ;  many  pieces 
for  four  voices  ;  about  fifty  airs  for  dift'er- 
ent  voices. — Fetis. 

CARAFA  (DE  COLOBRANO,)  m- 
CHELE  (ENRICO),  born  in  Naples,  Nov.  17, 
1787,  died  in  Paris,  July  26, 1872.  Dramatic 
composer,  second  son  of  the  Prince  of  Colo- 
brano and  Duke  of  Alvito  ;  first  instructed 
by  the  organist  Fazzi,  then  pupil  of  Fran- 
cesco Ruggi,  and  of  Fenaroli  in  harmony 
and  composition  ;  and  in  Paris  of  Cheru- 
bini  in  counterpoint  and  fugue.  He  then 
entered  the  army  and  became  an  officer  in 
the  guard  of  Murat,  iu  whose  suite  he  took 
part  in  the  Russian  campaign  of  1812,  and 
was  made  chevalier  of  the  Legion  of  Honour. 
After  the  downfall  of  Napoleon  he  left  the 
army  and  took  up  music  as  a  profession, 
bringing  out  his  operas  iu  Naples,  ISIilan, 
Venice,  Rome,  Vienna,  and  Paris,  where  he 


CARAPELLA 


settled  in  1827.  He  was  made  a  member  of 
the  Institut  in  1837,  director  of  the  Gym- 
nase  de  musique  uiilitaire  iu  1838,  aud  pro- 
fessor of  comi^ositioii  at  the  Conservatoire 
ill  1840.  Works — Operas  :  H  fantasma, 
giveu  at  Naples  about  1802  ;  II  vascello 
d'  occideiite,  ib.,  Teatro  del  Foudo,  1811 ; 
La  gelosia  eorretta,  ossia  Mariti  aprite  gli 
Ocelli,  ib.,  Teatro  de'  Fioreiitini ;  Gabriella 
di  Vergi,  ib.,  Foiido,  1816  ;  Ifigenia  iu  Tau- 
ride,  ib.,  Sau  Carlo,  1817  ;  Berenice  iu  Siria, 
ib.,  1818  ;  Adi'le  di  Liisignauo,  Milan,  Scala, 

1817  ;    Elisabetta   in   Derbyshire,     Venice, 

1818  ;  11  sacrifizio  d"  Epito,  ib.,  1819  ;  I 
due  Figaro,  ossia  il  Soggetto  di  una  corn- 
media,  opera  bufta,  Milan,  Scala,  1820  ; 
Tamerlano  (written  iu  Kome,  1822)  ;  La 
capricciosa  ed  il  soldato,  ossia  Un  momento 
di    lezione,    Eufeiuia    di    Messina,    Kome. 

1823  ;  Abufar,  ossia  La  faiuiglia  Arabe, 
Vienna,  1823  ;  H  sonnambulo,  Milan,  Scala, 

1824  ;  Aristodemo  ;  Gl'  Italici  e  gl'  Indiani ; 
Jeanne  d'Ai-c,  Paris,  Opera  Comique,  1821 ; 
Le  Solitaire,  ib.,  1822  ;  Le  valet  de  cbam- 
bre,  ib.,  1823  ;  L'auberge  supposee,  ib., 
1824  ;  La  belle  au  bois  dormant.  Opera, 
182.5  ;  Sangarido,  3Ta><a)neUo,  ou  Le  pecheur 
napolitain,  Opera  Comique,  1827  ;  La  Vio- 
letle  (with  Lebonie),  ib.,  1828  ;  Jenny,  ib., 
1829  ;  Le  nozze  di  Lammermoor,  Theatre 
Italian,  1829  ;  L'auberge  d'Auray  (with 
Herold),  Opera  Comique,  1830  ;  Le  livre  de 
Termite,  ib.,  1831  ;  L'orgie  ballet.  Opera, 
1831 ;  Natalie,  ou  La  laitiere  Suisse,  do., 
(with  Gyrowetz),  ib.,  1832 ;  La  iwiaon 
d'Edimbourg,  Une  jouruee  de  la  Fronde, 
Opera  Comique,  1833  ;  La  grande-duchesse, 
ib.,  1835  ;  Thi'rese,  ib.,  1838  ;  H  uatale  di 
Giove,  cantata  ;  Achille  e   Deidamia,    do.  ; 


Soeur  Agnes,  ou  La  religieuse,  Ip-ic  scene  ; 
Messa  di  Gloria  for  4  voices  ;  Messa  di  Re- 


quiem ;  Stabat  Mater  ;  Ave  verum,  for  ten- 
or solo  with  chorus  and  orchestra  ;  Soli  for 
different  wind-instruments,  with  orchestra. 
— Clement,  Mus.  celebres,  3G8  ;  Fetis  ;  do.. 
Supplement,  i.  1.51  ;  Mendel ;  Schilling. 

CAItAPELLA,  TOMMASO,  born  in  Na- 
ples about  1680,  died  (?).  He  was  maestro 
dicappella  in  his  native  city.  "Works:  Can- 
zoui  a  due  voci  (Naples,  1728)  ;  Miserere 
for  4  voices  ;  Peleo  e  Teti,  cantata  (1714) ; 
Choruses  for  II  Domiziano,  a  tragedy  ;  II 
trionfo  della  eastita,  oratorio  (1715)  ;  Labat- 
taglia  spirituale,  oratorio. — Fefis  ;  Mendel. 

CAEAS.\LI,  ODOARDO,  born  in  Pisa, 
Italy,  lived  in  the  first  half  of  the  18th  cen- 
tury. He  was  maestro  di  cappella  to  the 
Princess  Roccella.  He  produced  an  opera 
buffa  which  from  its  title  seems  to  have  been 
written  in  jJatois,  Le  Mbroglie  d'  Ammore, 
Najjles,  1736.— Fetis,  Supplement,  i.  152. 

CARASAUX  (Carausaux),  born  in  Ai-ras 
about  the  middle  of  the  13th  centurj'.  Six 
of  his  songs  are  extant,  four  of  which  are 
in  the  MS.  department  of  the  National  Li- 
brary, Paris — Fetis  ;  Mendel. 

CARAVANE  DU  CAIRE,  LA,  opera  in 
three  acts,  text  by  Morel  de  Chedeville,  mu- 
sic by  Gretry,  represented  at  Fontaine- 
bleau,  Oct.  30,  1783,  and  at  the  Academie 
Royale  de  Musique,  Paris,  Jan.  15,  1784. 
Morel  de  Chedeville  is  a  pseudonym  for 
the  Comte  de  Provence,  afterwards  Louis 
XVni.  The  work,  notwithstanding  its 
want  of  local  colour',  achieved  a  great  suc- 
cess, being  played  more  than  five  hundred 
times.  The  overture  was  for  a  long  time 
a  favourite,  and  the  air  "Victoire  est  a 
nous  "  very  popular. 

CARBONEL,  JOSEPH  FRANgOIS 
NARCISSE,  born  of  French  parents,  in 
Vienna,  May  10,  1773,  died  at  Nogent-sur- 
Seine,  Nov.  9,  1855.  Composer,  son  of 
Joseph  Noel  Carbonel,  a  well  known  tam- 
bourine player,  who  was  his  first  instructor  ; 
admitted  to  the  ficole  royale  de  chant,  Paris, 
at  its  foundation  in  1783,  studied  the  piano- 
forte under  Gobert,  harmony  and  composi- 
tion under  Rodolphe  and  Grosse,  singing 


268 


CAPtCAKO 


uuder  Picciiiui  and  Guiuhanl ;  and  subse- 
quenlly  pupil  of  Eicber  and  Garat.  He 
became  a  celebrated  professor  of  singing, 
and  ijublisbed  some  sonatas  and  instru- 
mental music,  and  some  romances  for  the 
voice. — Fetis  ;   Mendel. 

CARCANO,  GIUSEPPE,  born  at  Crema, 
Lombardy,  in  1703,  died  (■*).  Dramatic  com- 
poser, maestro  di  cappella  at  tlie  Conserva- 
torio  degl'  Ineurabili,  Venice,  in  the  library 
of  which  many  of  liis  MSS.  are  preserved. 
One  of  his  cantatas,  La  concordia  del  tempo 
colla  fama,  for  seven  voices  and  orchestra, 
was  performed  by  the  scholars  of  the  Con- 
servatorio,  and  was  given  and  published  in 
Venice,  in  1740.  His  opera,  Hamleto,  was 
given  there  in  17-12. — Fetis  ;  Mendel. 

CARCANO,  RAFFAELE,  boru  in  180C, 
died  in  October,  186-4.  He  received  a  free 
education  at  the  Cathedral  of  Milan,  and  at 
the  age  of  eighteen  was  admitted  to  the 
Ro3'al  Chapel  of  tlie  King  of  Sardinia, 
where  he  remained  till  his  death.  He  was 
a  fine  contrapuntist  and  a  finished  harmon- 
ist, and  his  works  display  great  ability  in 
these  departments  ;  but  he  was  more  cele- 
brated as  a  singer  of  church  music,  which 
he  rendered  in  a  grand  style. — Fetis,  Sup- 
plement, i.  152. 

CARCASSI,  MATTEO,  born  in  Florence 
about  1792,  died  in  Paris,  Jan.  IG,  1853. 
Celebrated  guitarist,  excelling  even  Carulli 
in  his  playing.  He  perfected  the  fingering 
and  produced  many  new  effects  in  guitar 
playing.  He  was  in  London  in  1822  and 
1820,  and  in  Germanj'  in  182-1,  giving  con- 
certs. He  published  about  forty  composi- 
tions for  the  guitar,  con.sisting  of  rondeaux, 
caprices,  fantaisies,  and  studies.  —  Fetis  ; 
Mendel ;  Schilling. 

CARDENA,  PIETRO  LEONE,  boru  in 
Palermo  in  the  early  part  of  the  18th  cen- 
tury. Dramatic  composer,  whose  opera, 
Creusa,  was  performed  at  the  Teatro  San 
Samuele,  Venice,  in  1739.— Fetis  ;  Mendel. 

CARDON,  LOUIS,  born  in  Paris  in  1747 ; 
died  in  Russia  in  1805.  Harji  player.  His 
Methode  pour  la  Harpe   was  j^ublished  in 


Paris,  1785.  Works:  Quatre  sonates  pour 
la  Harpe,  op.  1  ;  Pieces  pour  la  Harpe,  op. 
2  ;  Trois  duos  pour  deux  Harpes,  op.  8  ;  etc. 
Fetis  gives  a  list  of  2 1  compositions,  which  in- 
cludes symphonies  for  harp,  violin,  and  bass  ; 
concertos  for  liarp,  two  violins,  two  oboes, 
two  horns,  etc. — Fetis;  Gerber ;  Mendel. 

CARDONNE,  PHILIBERT,  born  in  Ver- 
sailles in  1731,  died  ('?).  Dramatic  com- 
jjoser,  pupil  of  Coliu  de  Blamont.  When 
fourteen  years  old  he  composed  a  motet, 
which  was  given  at  the  court  in  1745,  and 
in  1748,  the  psalm,  Super  flumiua  Baby- 
lonis.  He  succeeded  Berton,  in  1777,  as  mu- 
sician to  the  King,  a  iiosition  which  he  occu- 
l^ied  until  the  Revolution.  His  pastoral, 
Amaryllis,  was  performed  before  the  Queen 
in  1752.  His  opera,  Omphale,  given  at  the 
Acadeniie  Roj-ale  de  Musique,  in  1769,  was 
not  successful. — Fetis  ;  Mendel. 

CARDOSO,  FRANCISCO  MANUEL, 
boi-n  at  Beja,  province  of  Alentejo,  Portu- 
gal, about  the  end  of  the  IGth  century.  He 
was  a  Carmelite  monk  and  composer  of 
church  music.  Works :  Missse  5  vocibus 
concert.  (1G13) ;  Missse  sex  vocibus  concert. 

(1625)  ;  Magnificat    sex    vocibus    concert. 

(1626)  ;  Misste  de  B.  Virgine  quaternis  et 
sex  vocibus,  lib.  3  ;  Livro  que  comprehende 
tudo  quanto  se  canta  na  semaua  santa  (Lis- 
bon, 1()48). — Fetis  ;  Mendel ;  Vasconcellos. 

CARDOSO,  MANUEL,  born  at  Fronteira, 
in  1569.  He  entered  the  Carmelite  order  at 
Lisbon  in  1588,  becoming  its  sub-prior  and 
mestre  de  capella.  Several  of  his  works, 
which  are  exclusively  for  the  church,  are 
said  to  have  been  published.  Two  of  his 
motets  are  given  by  Proske  in  the  Musica 
Divina,  ii.,  Nos.  5  and  33. — Grove  ;  Slendel. 

CARDUCCL  GIOVANNI  JACOPO,  born 
at  Bari,  Kingdom  of  Naples,  about  the  mid- 
dle of  the  16th  century.  Several  of  his 
compositions  are  to  be  found  in  a  collection 
entitled  :  II  Primo  Libro  a  due  voci  di  di- 
vers! autori  di  Bari  (Venice,  1585). — Fetis  ; 
Mendel  ;  Gerber. 

CAEELIO,  ANTONIO,  born  at  Messina, 
Sicily,  17th  century.     Violinist,  and   com- 


3«l 


CAIIELLI 


poser  for  bis  instrument.  His  sonatas  were 
published  in  three  j):irts  (Amsterdam,  1710). 
— Fctis  ;  Mendel. 

CARELLI,  BENJAlVnNO,  born  in  Na- 
ples, May  9,  1833,  still  living,  1888.  Pupil 
of  the  Naples  Conservatorio,  where  he 
studied  the  pianoforte  under  Lanza,  har- 
monj'  under  Parisi,  counterpoint  under 
Carlo  Conti,  singing  under  Busti,  and  com- 
position under  Mercadante.  Before  leav- 
ing the  Conservatorio  he  produced  an  over- 
ture. He  afterwards  taught  singing  and 
composition,  published  a  number  of  vocal 
melodies,  and  wrote  an  ode-cantata  for  a 
national  fete  in  18G4.  He  has  been  j)ro- 
fessor  of  singing  at  the  normal  schools  since 
1873,  and  at  the  Conservatorio  since  187J:. 
He  is  the  author  of  several  didactic  works. 
— Fetis,  Supplement,  i.  452. 

CARESANA,  CRISTOFORO,  born  at  Ta- 
rento,  Italy,  in  1(55.5,  died  in  Naples  in 
1713.  Organist  of  the  Royal  Chapel,  Na- 
ples, about  1680,  and  afterwards  maestro  of 
the  Church  of  the  Oratorians  or  Filippini. 
Chorou  embodied  in  his  "Principes  de 
Composition  "  exercises  on  all  the  intervals 
by  Caresana,  and  introduced  a  new  edi- 
tion of  his  Solfeggi  (Naj)les,  1680)  at  the 
Conservatoire.  Works :  Motets,  hymns, 
duetti  da  camera,  published  during  his  life, 
and  many  j\IS.  works  preserved  in  the  Royal 
Library,  Naples. — Grove  ;  Fetis  ;  Mendel. 

CAREY,  HENRY,  born  in  1685  (1692  ?), 
died  in  London,  Oct.  4,  1743.  Dramatic 
composer,  said  to  have  been  a  natural  son 
of  George  Savile,  Marquis  of  Halifax  ;  pupil 
of  Olaus  Westeinson  Linnert,  of  Rosein- 
grave,  and  of  Geminiani.  His  instruction 
was  limited,  and  he  was  obliged  to  teach  for 
a  living.  He  wrote  many  musical  dramas 
which  were  popular  in  their  time,  but  he  is 
now  remembered  chiefly  by  his  ballad, "  Sally 
in  our  Alley,"  and  by  the  attempt  to  prove 
him  the  comi^oser  of  "  God  save  tlie  King." 
Carey  may  have  arranged  and  jjerhaps  al- 
tered this  national  air,  and  it  is  reasonably 
certain  that  he  first  sang  it  in  public,  but 
the  melody  is  i^robably  older  than  his  time. 


Nt 


ancy 


1739 


His  posthumous  son,  George  Savile  Carey 
(1743-1807),  poet  and  dramatist,  tried  to 
substantiate  his  father's  claim  to  its  author- 
ship, but  the  ques- 
tion still  remains 
undecided.  Henry 
Carey  is  said  to  have 
committed  suicide, 
but  this  is  doubtful. 
Works  —  Musical 
dramas,  etc.  :  The 
Contrivances,  Lon- 
don, 1715  ;  Betty, 
1732  ;  Cephalus  and  v 

Procris,  1733  ;  Tlie 
Honest  Yorkshireman,  1735  ; 
Six  cantatas  (1732)  ;  The  Musical  Century 
— one  hundred  English  ballads  written  and 
composed  by  himself  (1739-40).  He  was 
the  author  also  of  plays  and  poems. — Chajj- 
pell,  Popular  Music  of  Olden  Time,  702  ; 
Grove  ;  Fetis ;  Riemann,  147  ;  Mendel ;  Nau- 
mann  (Ouseley),  ii.  914. 

CARILLONNEUR  DE  BRUGES,  LE 
(The  Bell-ringer  of  Bruges),  opera-co- 
mique  in  three  acts,  text  bj'  de  Saint- 
Georges,  music  by  Albert  Grisar,  repre- 
sented at  the  Opera  Comique,  Paris,  Feb. 
20,  1852.  The  action  passes  in  the  Neth- 
erlands during  the  revolt  against  the  Span- 
ish yoke.  Matheus  Clacs,  the  deaf  bell- 
ringer,  recovers  his  hearing  when  he  sees 
the  standard  of  Brabant  elevated  on  the 
walls.  The  score,  one  of  the  best  of  the 
composer's,  is  full  of  dramatic  sentiment 
and  lively  inspiration.  One  of  the  best  of 
the  airs  is  :  "  Sonnez,  mes  cloches  gentilles ! 
ah  !  pour  d'autres,  sonnez  !  "  The  piano- 
forte score  is  arranged  by  Vauthrot. 

CARISSIMI,  GIACOMO,  born  in  Ma- 
rino, near  Rome,  1004  (according  to  Pito- 
ni),  at  Padua,  1582  (according  to  Spiri- 
dione,  Mattheson,  and  Fetis),  died  in  Rome, 
1674.  Very  little  is  known  about  his  life, 
not  even  under  whom  he  studied.  De  Fre- 
neuse's  account,  that  he  formed  his  taste  and 
style  in  Paris,  is  undoubtedly  a  myth.  Caris- 
simi's  first  official  position  was  that  of  maes- 


CARLETON 


tro  di  cappella  cat  Assisi,  but  a  few  years 
later  be  obtained  a  similar  post  at  the 
cburch  of  S.  Apolliuaris  at  Rome,  and  most 
probably  continued  to  bold  it  during  tbe 
remainder  of  his  life.  Gerber's  assertion 
that  he  was  at  one  time  maestro  di  cappella 
of  tlie  pontifical  choir  is  unfounded.  Caris- 
simi  was,  beyond  doubt,  the  greatest  of 
Italian  composers  between  Palestrina  and 
Alessandro  Scarlatti.  The  facts  that  he 
never  wrote  for  the  stage,  and  that  he  sjaent 
most  of  his  life  in  directing  a  church  choir 
in  Rome,  have  misled  many  persons  into 
ranking  him  among  the  followers  of  Pales- 
trina. But  with  the  Palestrina  school  he 
really  had  no  connection  ;  he  was  not  a 
classicist,  but  energetically  followed  the 
lead  of  Cacciui,  Peri,  and  Monteverde.  His 
compositions  belong  distinctly  to  modern 
music.  Carissimi  did  more  than  any  of  his 
contemporaries  toward  perfecting  the  re- 
citative ;  he  was  also  the  first  to  develop  the 
sacred  cantata  and  the  oratorio  to  the  jjoint 
where  Handel  and  Sebastian  Bach  found 
them  when  they  applied  themselves  to  this 
form  of  composition.  He  also  did  much  in 
the  elajujratiou  of  the  orchestral  accompani- 
ment in  the  stile  concertante.  Indeed  he  maj* 
be  called  the  true  father  of  the  modern  orato- 
rio. His  style,  if  not  so  learned  as  that  of  the 
"  great  "  Roman  school  of  contrapuntists, 
is  far  purer  and  more  facile  than  that  of  his 
more  progressive  contemporaries.  To  the 
emotional  and  dramatic  power  of  Mon- 
teverde and  Cavalli  he  added  a  consummate 
skill  in  counterjjoint,  and  he  was  one  of 
the  first  to  reconcile  contrapuntal  writing 
with  modern  tonality,  and  the  more  dram- 
atic spirit  which  began  to  show  itself  in 
music  immediately  after  the  establishment 
of  the  tonal  system.  He  was  a  most  volu- 
minous comjooser,  but  very  little  of  his  mu- 
sic has  been  published.  Published  works  : 
2  collections  of  motets  for  2,  3,  and  4  voices 
(Rome,  1664,  1667)  in  the  Santini  Library  ; 
Missse  5  et  9  vocum  cum  selectis  can- 
tionibus  (Cologne,  1GG3,  1667)  ;  Jephte, 
oratorio,  his  masterpiece  (Mainz,  B.  Schott's 


SOhneu) ;  Judicium.  Salomonis,  oratorio, 
(ib.,  probably  not  by  Carissimi,  but  by  his 
pupil  Cesti)  ;  Jonaa,  oratorio  (ib.)  ;  Bal- 
thazar, oratorio  (ib.)  ;  Jonah,  oratorio 
(London,  Lamborn  Cock).  Detached  pieces 
by  Carissimi  were  published  in  Burney, 
Hawkins,  Kircher's  "  Musurgia,"  Rochlitz, 
Ballard's  "  Airs  serieux  et  a  boire,"  Stevens's 
"Sacred  Music,"  Crotch's  "Selections  of  Mu- 
sic," the  "  Fitzwilliams  Music,"  and  other 
collections.  Many  MSS.  have  been  lost,  but 
an  8-voice  Nisi  Dominus  and  Lauda  Sion 
are  in  the  Santini  collection  in  Rome  ;  the 
Pontifical  Chapel  has  a  12-voice  mass  on 
L'honmie  armc  (probably  the  last  ever 
written  on  that  once  favourite  theme) ;  the 
National  Library  at  Paris  has  the  following 
oratorios  in  MS.  :  La  plainle  des  damncs 
(very  celebrated),  L'histoire  de  Job,  Ezc- 
chias,  Baltazar,  David  et  Jonathas,  Abra- 
ham et  Isaac,  Jej)hte,  Le  jugement  derniei', 
Le  mauvais  riche,  and  Jonas.  The  very 
nearly  complete  collection  of  Carissimi's 
works,  made  by  Dr.  Aldrich,  is  in  the  library 
of  Christ-Church  College,  Oxford. — Fetis. 

CARLETON,  Rev.  RICHARD,  lived  in 
England,  beginning  of  the  17th  century.  In 
1601  he  published  a  set  of  twentj'-one  fi.ve- 
part  madrigals  ;  and  he  contributed  the 
madrigal  No.  8,  Calme  was  the  aire,  to  the 
"  Triumphes  of  Oriana." — Grove. 

CARLETTI,  MATTHIEU  CESAR,  com- 
poser of  the  16th  century.  His  songs  for 
eight  voices  are  to  be  found  in  a  collection 
l^ublished  at  Antwerp  by  P.  Phalose,  called  : 
Canzonetti  alia  romana  da  diversi  excellen- 
tissinii  musici  a  sei  e  otto  voci  (1606). 
— Fi'tis  ;  Mendel. 

CARLEZ,  JULES  ALEXIS,  born  at  Caen, 
France,  Feb.  10,  1836,  still  living,  1888. 
Pupil  of  his  father,  a  director  of  military 
music  under  the  Empire  ;  studied  the  pi- 
anoforte and  the  violin  at  the  Conservatoire 
of  Caen,  after  leaving  which  he  became  oi- 
ganistof  the  church  of  Saint-Jean  and  teacher 
of  music.  He  has  composed  considerable 
church  music  and  works  for  the  pianoforte 
and  organ,  but  is  best  known  by  his  writings 


271 


CARLIXE 


on  music,  among  which  are  :  "  Les  Mu- 
sieiens  paysagistes  "  (1870) ;  "  Grimm  et  la 
Musique  cle  son  temps  "  (1872);  "Notices 
Liographiquessur  Aiigele  Cordier  et  Yvonne 
Morel"  (1873) ;  " L'CEuvre d'Auber  "  (187-1)  ; 
"  La  Musique  a  Caen  de  1066  a  1848  "  ;  "  Le 
Chant  de  Guillaunie  de  Fecamj)  et  les  mai- 
sons  de  Glastous"  (1877).  He  was  one  of 
the  collaborators  of  Fotis'  "Biographic  Uni- 
verselle  des Musicians." — Futis,  Supplement, 
i.  153 ;  Mendel,  Ergilnz.,  55. 

CAKLIjSIE,  opi'ra-comique  in  three  acts, 
text  by  de  Leuven  and  Brunswick,  music 
by  Ambroise  Thomas,  represented  at  the 
Opera  Comique,  Paris,  Feb.  24,  1840.  The 
Baroness  de  Montbreuse,  jealous  of  the 
actress  Carline,  who  has  turned  the  head 
of  the  Vicomte  de  Quiucy,  her  fiance,  gets 
up  an  intrigue  of  which  she  herself  is  the 
dupe.  The  Vicomte  gives  all  his  posses- 
sions to  the  actress,  together  with  a  written 
promise  of  marriage,  but  Carline  generously 
refuses  all. 

C^LINI,  ORESTE,  born  at  Naples 
about  1800,  still  living,  1888.  Dramatic 
composer,  pupil  at  the  Conservatorio,  Na- 
ples ;  went  in  1834  to  Paris,  and  resided 
there  as  a  singing  teacher  until  1844,  when 
he  returned  to  his  native  country.  Works 
— Operas  :  Gioventu  di  Enrico  V.,  given  in 
Naples,  1821  ;  I  sposi  fugitivi,  ib.,  1833  ; 
Solimanno  II.,  Milan,  1844  ;  Ildegonda,  Flor- 
ence, 1847  ;  Gabriella  di  Falesia,  ib.,  1865. 
— Fetis  ;  do..  Supplement,  i.  153  ;  Mendel. 

CAELOTTI,  GAETANO,  Italian  com- 
poser, born  in  Modena  in  the  first  half  of 
the  19th  century.  He  stiidied  music  at  Na- 
ples, and  on  returning  to  his  native  city, 
bi-ought  out  an  opera  buffa,  Rita,  Nov. 
19,  1853.— Fetis,  Supplement,  i.  154. 

CARLSTADT,  JOHANN,  born  at  Vanern, 
Thuringia,  about  the  end  of  the  16th  cen- 
tury. He  is  known  as  the  composer  of 
the  following  works  :  Geistliche  und  Welt- 
liche  Lieder,  mit  3,  4,  und  5  Stimmen 
(Erfurt,  1609).— Fetis  ;  Mendel. 

CAEIMAGNOLE,  LA,  French  revolution- 
arj"   song,    popular    during  the    Reign    of 


Terror.  The  name  was  probably  derived 
from  the  Sardinian  town  of  Carmagnola, 
whence  came  most  of  the  Savoyard  boys. 
The  melody,  thought  by  Gretry  to  have 
been  originally  a  Marseilles  sailor  song, 
was  more  probably  a  country-dance  tune. 
It  was  first  adapted  to  a  military'  national 
song  written  in  1792,  but  it  was  soon  sung 
to  new  words,  beginning  "  Madame  Veto 
avait  promis,"  and  ending  with  the  refrain, 
"Dansons  la  Carmagnole,  vive  le  son  du 
canon ! "  the  singing  being  accompanied 
with  a  kind  of  round  dance.  "When  pub- 
lished by  Frere  in  1792  it  contained  thirteen 
stanzas.  Many  other  songs  were  adapted  to 
the  tune  during  the  revolution,  and  the  air 
has  been  introduced  on  the  stage  in  many 
vaudevilles,  etc.  Its  singing  was  prohibit- 
ed by  the  law  of  the  18th  Brumaire,  1799. 
The  tune  is  given  in  Grove,  I.  315. 

CARMAN'S  WHISTLE,  THE,  an  old 
English  air  of  the  16th  century.  It  is  found 
arranged  for  the  virginal,  with  harmony  and 
variations,  by  William  Byrd,  in  "  Lady 
Nevell's  Virginal  Book  "  (No.  34,  fol.  149), 
in  the  possession  of  the  Earl  of  Abergavenny  ; 
in  the  "Virginal  Book  of  Queen  Elizabeth" 
(p.  106,  No.  58),  in  the  Fitzwilliam  Mu- 
seum, Cambridge  ;  and  in  "  Will.  Forster's 
Virginal  Book "  (p.  130),  in  Buckingham 
Palace.  The  tune  is  given  in  Grove,  I.  316. 
— Burney,  iii.  89  ;  Chappell,  Popular  Music 
of  Olden  Time,  137,  428. 

CARMEN,  opera-comique  in  four  acts, 
text  by  Henri  Meilhac  and  Ludovic  Halevy, 
mu.sic  by  Georges  Bizet,  represented  at  the 
Opera  Comique,  Paris,  March  3,  1875  ;  Vi- 
enna, Hof-Operntheater,  Oct.  31, 1875.  Sub- 
ject from  Prosper  Merimee's  romance  of  the 
same  title.  Scene  in  Seville,  in  1820.  Don 
Jose,  a  lieutenant,  betrothed  to  Micaela,  a 
beautiful  village  maiden,  is  fascinated  by 
Carmen,  a  gipsy  girl,  and  follows  her  to  the 
haunt  of  the  contrabandistas  in  the  moun- 
tains. But  she  transfers  her  affections  to 
Eseamillo,  bull-fighter  of  Granada,  which 
arouses  the  jealousy  of  Don  Jose  and  finally 
ends  in  his  stabbing  her  at  the  bull-fight, 


2'i2 


CARMEN 


as  she  greets  with  joy  Escamillo's  victory 
in  the  arena. 

Original  Cast,  1875. 

Carmen Mine.  Galli-Marie. 

Micaela Mile.  Chapuy. 

Frasquita Mile.  Diicasse. 

Mercedes. Mile.  Chevalier. 

Don  Jose M.  Lherie. 

Escaiuillo M.  Bouhy. 

Zuniga ^I-  Dufriche. 

Morales iM-  Duveruoy. 

Lillas  Pastia M.  Nathan. 

The  part  of  Carmen  was  written  origin- 
ally for  Marie  Roze  (now  Mrs.  Henry  Ma- 


Minnie  Hauck   as  Carmen. 

pleson),  but  she  being  prevented  from  ap- 
pearing in  it  on  account  of  an  engagement 
in  England,  the  part  was  rewritten  for 
Galli-Marie,  whose  voice  had  a  more  limited 
range.  The  opera  was  given  in  London,  at 
her  Majesty's  Theatre,  June  22,  1878,  with 
Minnie  Hauck  in  the  title-role,  which  she 
had  pre\iously  sustained  in  Brussels.     Her 


impersonation  of  the  passionate  and  capri- 
cious, but  fascinating  gypsy  of  Merimce's 
story  was  much  ajsplauded,  and  she  has 
become  almost  identified  with  the  char- 
acter. Carmen  is  the  best  of  Bizet's  works, 
and  one  of  the  best  in  the  modern  French 
repertory.  Among  its  noteworthy  numbers 
are  :  the  habaiiera,  "  L"  Amour  est  uu  oiseau 
rebelle "  ;  the  duet  between  Micaiila  and 
Don  Jose,  "  Parle-moi  de  ma  mere  "  ;  the 
song  of  the  gyj)sies  in  the  second  act,  "  Trin- 
gles  des  sistres  tiutaient "  ;  the  chorus,  "Vi- 
vat  le  torero  !  "  ;  Escamillo's  song,  with  its 
favom-ite  refrain,  "Toreador,  en  garde!"; 
the  duet  between  Carmen  and  Don  Jose, 
"  Si  tu  m'aimais,  lii-bas  tu  me  suivrais " ; 
the  allegretto  of  Carmen,  "  Bel  oificier  "  ; 
the  card-players'  trio  in  the  third  act ; 
Micaela's  air,  "  Je  vais  voir  de  pros  cette 
femme " ;  and  the  duet  in  the  fourth  act, 
"Mais  moi,  Carmen,  je  t'aime  encore." — 
Clement  and  Larousse,  836  ;  Edwards,  LjtI- 
cal  Drama,  ii.  64  ;  id..  Prima  Donna,  ii.  228. 
CABMEN  SECULARE,  ode  by  Horace, 
set  to  music  by  Francois  Andre  Danican 
Philidor,  London,  1779. 

CARNABY,  WILLIAjM,  born  in  London 
in  1772,  died  there,  Nov.  13,  1839.  Organ- 
ist successively  at  Eye,  at  Huntingdon,  and 
in  1823  of  Hanover  Chapel,  Regent  Street, 
London.  Mus.  Bac,  Cambridge,  1803,  Mus. 
Doc,  1808.— Works:  12  collects  for  four 
voices  and  organ  ;  Sanctus  for  five  voices  ; 
6  canzonets  for  voice  and  pianoforte  ;  6 
songs  for  do.  ;  Anthems ;  Glees. — Grove. 

CARNAVAL,  scenes  mignonnes  sur  qua- 
tre  notes,  for  pianoforte,  by  Schumann,  op. 
9,  dedicated  to  Carl  Lipinski,  composed 
1834-35.  The  theme  of  this  work,  consist- 
ing of  twenty-one  pieces,  is  a  phrase  of  four 
notes,  A,  E-flat,  C,  and  B,  called  in  German 
A,  S  (Es),  C,  H,  thus  making  up  the  name 
of  a  town  where  Schumann's  musical  friend 
Ernestine  von  Fricken  lived.  In  the  entire 
collection  of  pieces  there  are  only  two  that 
contain  no  reference  to  these  notes,  and  the 
greater  number  are  actually  developed  from 
them.     The  finale  is  the  wonderful  Marche 


CARNAVAL 


des  Davidsbi'mdler  centre  les  Philistins,  in 
wLich  the  antiquated  tune  of  the  Grotssvater- 
tanz  is  used  to  represent  the  enemies  of 
musical  enliglitenment,  and  is  laughed  at, 
attacked,  and  finally  thrust  ignominiouslj' 
from  the  scene.  Of  all  the  comj)oser's  pi- 
anoforte works,  this  is  perhajis  the  most 
popular  ;  its  wonderful  animation  and  never- 
ending  variety  insure  the  production  of  its 
fuU  effect,  and  its  great  difficulties  make  it 
the  best  possible  test  of  a  pianist's  skill  and 
versatility. — Maitland,  52  ;  Schumann  (Rit- 
ter),  Music  and  Musicians,  153. 

CAENAVAL  A  PAELS,  for  orchestra,  by 
Johan  Severin  Svendsen,  op.  0. 

CAENAVAL  DES  EEVUES,  LE,  pro- 
logue in  two  acts  and  nine  tableaux,  text 
by  Grange  and  Gilles,  music  by  Oiienbach, 
represented  at  the  Bouffes  Parisiens,  Paris, 
Feb.  10,  1860.  The  "  Tyrolienne  de  I'ave- 
nir,"  in  this  grotesque  work,  is  very  laugh- 
able. 

CAENAVAL  DE  VENISE,  LE,  opera-bal- 
let in  three  acts,  with  prologue,  text  by  Re- 
gnard,  music  by  Canipra,  rejsresented  at  the 
Acadcmie  Royale  de  Musique,  Paris,  Feb. 
28,  1699.  This  work  ends  with  a  little 
opera  in  Italian,  in  one  act,  entitled  :  Orfeo 
neir  inferi. 

CAENAVAL  DE  VENISE,  LE,  opera- 
comique  in  three  acts,  text  by  Thomas  Sav- 
age, music  by  Ambroise  Thomas,  given  at 
the  Opera  Comique,  Paris,  Dec.  9,  1857. 
Lelio,  by  marrying  Sylvia  the  actress,  has 
incurred  the  displeasure  of  his  family,  and 
particularly  of  Signor  Palifornio.  The  lat- 
ter has  composed  a  violin  concerto,  which 
Sylvia  sings  with  great  success  at  a  concert, 
under  the  title  Ariette  sans  paroles,  and 
thus  wins  his  favour  and  pardon.  The  role 
of  Sylvia  was  written  for  Mnie  Cabel,  who 
exhibited  in  the  ariette  the  most  brilliant 
vocalization.  The  overture  shows  very 
clever  variations  on  Paganini's  famous  air. 
II  Carnevale  di  Venezia,  Itahan  opera,  music 
by  Pietro  Guglielmi,  London,  1770 ;  by 
Francesco  Boyle,  Milan,  1812 ;  by  Paolo 
Brambilla,  Turin,  1819  ;  and  by  J.  L.  Eller- 


ton,  two  acts,  Prussia,  1832.  Carnival  of 
Venice,  English  ojjera,  music  by  Thomas 
Linlej',  London,  1781.  El  Carueval  de 
Venecia,  Spanish  ballet,  by  Nic.  Manent, 
Barcelona,  about  1860.  Karneval  von  Ve- 
nedig,  German  opera,  by  Eeinhold  Keiser 
and  Christian  Grauptuer,  text  by  Meister 
and  Kuno,  Hamburg,  1707. 

CAENAVAL  DU  PAENASSE,  LE,  ballet- 
hero'ique  in  three  acts,  with  a  j)rologue, 
text  by  Fuzelier,  music  by  Mondonville, 
represented  at  the  Academie  Royale  de 
Musique,  Paris,  Sept.  23,  17-49.  Mile  Ca- 
margo  took  the  part  of  Teri^sichore. 

CARNAVAL  ET  LA  FOLIE,  comi'die- 
ballet  in  four  acts,  with  a  prologue,  text  by 
La  Mothe,  music  by  Destouches,  first  rep- 
resented at  Fontainebleau,  before  the  king, 
Oct.  14,  1703,  and  in  Paris,  at  the  Acade- 
mie  Royale  de  Musique,  Jan.  3,  1704.  It 
was  reproduced  in  1719,  1730,  1738,  and 
1748. 

CAENAVAL,  LE,  opera-ballet  in  five  acts, 
text  by  Moliere,  Benserade,  and  Quinault, 
music  by  Lulli,  represented  in  Paris,  Oct. 
17,  1675. 

CARNAVAL  ROIVIAIN,  LE  (The  Roman 
Carnival),  ouverture  caracteristique,  second 
overture  to  Benvenuto  Cellini,  to  be  plaj'ed 
before  the  second  act  of  the  opera,  by  Hec- 
tor Berlioz,  op.  9. 

CAENEIEO,  Fra  MANUEL,  born  in 
Lisbon  about  1650,  died  in  1695.  Organ- 
ist, composer  of  masses,  motets,  responses, 
psalms,  etc.  Works  :  Eesjionsorios  e  lic;o- 
ens  das  Matinas  de  Sabbado  Santo,  a  2 
coros  ;  Resi^onsorios  das  matinas  de  Pas- 
choa,  a  2  coros  ;  Mi.ssa  de  defuntos,  etc.,  a 
2  coros ;  Psalmos,  motetes  e  vilhancicos  a 
diversas  vozes. — Machado,  Bibl.  Lusit.,  iii. 
214  ;  Fetis  ;  Mendel. 

CARNEVALE  DI  MILANO,  IL,  Italian 
opera,  music  by  Pacini,  represented  at  the 
Teatro  del  Re,  Milan,  1817. 

CARNEVALE  DI  VENEZIA,  a  popular 
air,  probably  composed  in  Venice  about  the 
end  of  the  eighteenth  centurj'.  Pagauini 
heard  it  on  his  visit  there  in  the  first  quar- 


274 


CARNICEli 


ter  of  this  century,  and  made  it  known  all 
over  the  world  by  his  burlesque  variations. 
It  has  been  used  as  a  theme  by  several  com- 
posers, especially  by  Herz  and  Sehulhofif, 
whose  variations  and  fantasias  have  been 
very  popular  among  pianists  ;  and  Ambroise 
Thomas  has  introduced  it  in  his  opera  Le 
Caruaval  de  Venise,  and  Victor  Masse  in  his 
La  Reiue  Topaze. 

CARNICEK,  Don  RAMON,  born  at  Ter- 
riga,  near  Lerida,  Catalonia,  Oct.  24,  1789, 
died  in  Madrid,  March  17,  1855.  Dramatic 
composer  and  operatic  conductor  ;  pupil  in 
Barcelona  of  Francisco  Queralt,  maestro  de 
capilla,  and  of  Don  Carlos  Bagner,  first  or- 
ganist of  the  Cathedi-al.  At  the  time  of 
Napoleon's  invasion  he  went  to  the  Balearic 
Islands  and  became  organist  and  professor 
of  music,  but  returned  in  1814.  In  181G 
he  visited  Italy,  in  1818  became  conductor 
of  the  Italian  Opera,  Barcelona,  and  after 
several  journeys  to  Madrid,  Paris,  and 
Loudon,  was  made  director  in  1828  of  the 
Royal  Theatre,  Madrid.  He  helped  to  cre- 
ate the  national  or  zarzuela  opera,  and  wrote 
zarzuelas  for  it.  He  was  professor  of  com- 
position at  the  Royal  Couservatorio,  Madrid, 
from  1830  to  1854.  Works :  Adela  de  Lu- 
signano,  Elena  y  Constantino,  Don  Juan 
Teuorio,  Colon,  El  Eufemio  de  Messina, 
given  at  Barcelona,  1818  ;  Elena  e  Malvina, 
Madrid,  1829  ;  Colombo,  ib.,  1831  ;  Iperme- 
nestra,  Madrid  and  Saragossa,  1843  ;  Is- 
maila,  ossia  morte  ed  amore,  Madrid,  1837. 
He  wrote  a  great  deal  of  church  music, 
amongst  which  is  a  mass  for  eight  voices 
and  orchestra  (1829-1842) ;  he  wrote  many 
national  hymns,  and  many  popular  melodies 
and  .Si^anish  chansons  of  singular  character, 
besides  symphonies  and  music  for  the  obse- 
quies of  Ferdinand  VII. — Fetis  ;  Mendel. 

CARNOVALE  DI  :\IILANO,  IL,  Ballabili 
e  intermezzi,  for  the  pianoforte,  by  Hans 
von  Billow,  op.  21,  dedicated  to  Siguora  El- 
vira Salvioni.  No.  1,  Polacca,  in  A ;  No.  2, 
Valzer,  in  B  ;  No.  3,  Polka,  in  B  ;  No.  4,  Inter- 
mezzo fantastico,  in  A  minor  ;  No.  5,  Qua- 
driglia,  in  E-flat ;  No.  G,  Mazm-ka  in  D  ;  No. 


7,  Intermezzo  lirico,  in  C  ;  No.  8,  Tarantella, 
in  C  ;  No.  9,  Intermezzo  scherzoso,  in  D-flat ; 
No.  10,  Galop,  in  F.  Published  by  Bar- 
tholf  Senff  (Leipsic). 

CAROLI,  ANGELO  ANTONIO,  born  at 
Bologna,  June  13,  1701,  died  in  1791.  Dra- 
matic composer  and  organist ;  pupil  of  Gi- 
rolamo  Consoni  and  of  Giovanni  Antonio 
Ricieri.  He  was  maestro  di  cappella  of  the 
Basilica  of  S.  Stefano  and  of  other  churches 
in  Rome,  and  became  substitute  for  Jacques 
Caisar  Predieri  in  8t.  Peter's,  in  1741,  and 
his  successor  in  1753.  He  was  elected  a 
member  of  the  Accademia  Filarmonica, 
Bologna,  and  was  principe  of  that  body  in 
1732,  1741,  1755,  1760,  1767,  and  1776. 
Works :  Amor  nato  tra  1'  ombre,  opera, 
given  at  Bologna,  1728  ;  Serenade  ;  Messe 
a  4  voci  i^iene,  due  con  violini  obligati,  e 
due  con  violini  ad  libitum  (Bologna,  1766). 
— Fetis  ;  Mendel. 

CARON,  CA:MILLE,  born  in  Rouen, 
France,  March  10,  1825,  died  there,  March 
11, 1886.  He  was  a  free  pupil  at  the  Rouen 
Cathedral  in  1835,  at  the  Paris  Conservatoire 
in  1840,  and  studied  singing  under  Le  Coup- 
pey  and  Amedee  Mereaux.  He  settled  at 
Rouen,  where  he  became  a  teacher.  Works 
— Operas  :  Le  Sergentde  Ouistreham,  opera- 
comique,  given  at  Rouen,  1863  ;  Naissance  de 
Boieldieu,  ib.,  1866  ;  Le  Trebuchet,  opera- 
coraique,  ib.,  1868.  He  wrote  also  choruses 
for  four  male  voices,  among  which  are :  La 
Saint-Jean  d'ete  ;  Le  chant  des  deruiers 
Gaulois,  etc.;  and  romances.  La  nuit,  and  A 
soixante  ans,  being  the  two  best  known  ;  and 
composed  many  jjieces  for  the  pianoforte, 
marches  for  orchestra,  etc. — Fctis,  Sui^jjle- 
ment,  i.  154. 

CARON,  FIRMIN,  born  probably  in  the 
Netherlands  about  1420,  died  (?).  Famous 
contrapuntist  of  the  15th  century,  pupil 
of  Binchois,  or  of  Dufay,  or  of  both.  Of 
his  compositions  are  preserved  only  some 
masses  in  the  archives  of  the  Pontifical 
Chapel,  and  a  chanson  for  three  voices  in 
the  National  Library,  Paris.— Fetis  ;  Am- 
bros,  II.  468. 


2T5 


CARO 


CARO  NOME.     See  Rigolelto. 

CARPANI,  GAETANO,  boru  about  1750, 
died  ('?).  Cliurcb  composer,  considered  one 
of  the  most  profound  contrapuntists  of  his 
day.  He  was  maestro  di  cappella  of  the 
Church  del  Gesti,  and  of  other  Jesuit 
churches  in  Rome.  Works  :  Three  masses 
for  three  voices  ;  the  psalm  Dixit  Domiuus, 
for  eight  voices  and  orchestra  ;  Several  mo- 
tets for  two  voices  ;  Credidi  fur  four  voices 
and  orchestra ;  Dixit  for  four  voices  ;  Beatus 
vir  for  four  voices,  etc. — Fetis  ;  Mendel. 

CARPANI,  GIOVANNI  ANTONIO,  lived 
about  the  middle  of  the  17th  century.  He 
published  a  collection  of  motets  with  the  fol- 
lowing title  :  Motetti  a  quattro  voci,  canto, 
alto,  tenore,  basso,  col  rivolto  alia  duodecima 
del  basso  in  canto  (Rome,  IGGl:). — Fetis  ; 
Mendel. 

CARPENTRAS.     See  Oenet. 

CARRARA,  MICHELE,  flourished  in  the 
16th  century.  He  lived  in  Rome  till  about 
1608.  A  few  of  his  madrigals  are  inserted 
in  the  collection  entitled :  De'  floridi  vir- 
tuosi d'  Italia,  il  terzo  libro  de'  Madrigali  a 
cinque  voci,  nuovamente  composti  e  dati  in 
luce  (Venice,  1586).  He  sliould  not  be 
confounded  with  Giovanid  Michele  Carrara, 
didactic  writer  of  the  15th  century. — Fetis ; 
Mendel. 

CARREIRA,  ANTONIO,  Portuguese 
composer  of  the  16th  century,  died  at  Lis- 
bon in  1599.  He  was  mestre  de  capella  to 
Dom  Sebastian  and  Dom  Henry,  Kings  of 
Portugal.  His  motets,  and  a  composition 
entitled  Lamentai;6es,  are  preserved  in 
MS.  in  the  library  of  the  King  of  Portugal. 
— Mendel  ;  Schilling  ;  Vasconcellos,  37. 

CARRENO,  TERESA,  born,  of  Spanish 
parentage,  at  Caraccas,  Venezuela,  Dec.  22, 
1853,  still  living,  1888.  Pianist;  first  in- 
structed by  her  father,  Manuel  Antonio 
Carreno,  a  teacher  of  nnisic  ;  subsecjuently 
for  a  short  time  a  pupil  of  Julius  Hoheni. 
In  1862,  when  only  nine  years  old,  she 
appeared  as  a  concert  pianist  in  New 
York ;  Gottschalk  became  interested  in 
her   at   this  time  and    gave  her  some    in- 


struction, particularly  in  regard  to  the  ren- 
dering of  his  own  compositions.  About 
1866  she  went  to  Europe,  and  in  Paris  mar- 
ried Emile  Sauret  the  violinist.  She  has 
travelled  extensively,  giving  many  concerts 
in  various  parts  of  America ;  is  living  at 
present  (1888)  in  the  United  States.  She 
has  published  compositions  for  the  piano- 
forte.— Fi'tis,  Supplement,  i.  154. 

CARRER,  PAOLO,  Italian  dramatic 
composer,  contemporary,  history  unknown. 
Works — Operas  :  Isabella  d'  Aspecco,  pro- 
duced at  Corfu,  1854  ;  La  rediviva,  Carcano 
Theatre,  Milan,  February,  1856  ;  Marco 
Botrario,  Siena,  January,  1867,  and  Dante 
e  Beatrice. — Futis,  Supplement,  i.  154. 

CARRETTI,  GIUSEPPE  MARIA,  born 
in  Bologna,  Italy,  Oct.  10,  1690,  died  there, 
July  8,  1774.  He  wrote  motets,  masses, 
and  other  church  music. — Futis  ;  Mendel. 

CARTARI,  Padre  GIULIANO,  Francis- 
can monk,  maestro  di  cappella  of  the  Mon- 
astery of  S.  Francesco,  Bologna,  in  1588. 
Works :  Missarum  quinque  vocum,  lib.  i.  ; 
Missiie  e  Motecta,  8,  9  vocum  (Venice). — Fe- 
tis ;  Mendel. 

CARTELLIERI,  CASIMIR  ANTON, 
boru  at  Dantzic,  Sept.  27,  1772,  died  at 
Libcoves,  Bohemia,  Sept.  2,  1807.  Son 
of  Joseph  Cartellieri,  a  celebrated  tenor  of 
the  18th  century  ;  received  his  musical 
education  in  Berlin,  and  was  until  his 
death  Kapellmeister  to  Prince  Lobkowitz. 
His  first  work  was  an  opera,  Geisterbe- 
schwOrung,  produced  in  Berlin  in  1793. 
He  went  to  Vienna  and  brought  out  there 
an  oratorio,  Gioas,  re  di  Giuda,  in  1795. 
Other  works  :  Contimar  und  Zora,  cantata, 
Berlin,  1792  ;  II  Giudice  nella  propria  causa, 
do.  ;  Anton,  ojieretta,  given  in  Berlin,  1796  ; 
II  segi-eto,  do.  (1804)  ;  Per  celebrare  la  fes- 
tivita  natale,  oratorio  (1806) ;  Piirificazione 
di  Maria  Vergine  (1807) ;  La  lanterna  ma- 
gica,  comic  scene  ;  7  masses  ;  2  motets  ;  4 
symphonies  ;  3  overtures  ;  6  concertos  ; 
Notturno  for  2  violins,  viola,  bass,  flute, 
oboe,  clarinet,  bassoon,  2  horns,  2  trom- 
bones, and  drums ;  Quartets,  songs,  piauo- 


876 


CAETER 


forte  pieces,  ami  fourteen  marches. — Fetis  ; 
Meudel ;  Schilling. 

CAKTER,  GEORGE,  boru  iu  London, 
Jan.  2(J,  1S35,  still  living,  1888.  Dramatic 
composer,  pupil  of  Sir  Johu  Goss  ;  was  or- 
ganist successively  at  St.  Thomas's,  Stam- 
ford Hill,  1848  ;  Christ  Church,  Camber- 
well,  1850  ;  Trinity  Church,  Upper  Chelsea, 
1853  ;  St.  Luke's,  Chelsea,  18G0  ;  and  Mon- 
treal Cathedral,  1861-70.  He  has  per- 
formed on  the  organ  iu  New  York,  Boston 
(1865-67),  Leijjsic,  Berlin,  Dresden  (1871), 
and  London  (1871-73).  Works:  Siufonia- 
cantata.  Psalm  116,  Royal  Albert  Hall, 
1872  ;  Evangeline,  cantata,  ib.,  and  Crystal 
Palace,  1873  ;  Tema  con  variazoni,  for  or- 
gan ;  Grand  festival  march,  for  do.;  Fair 
Rosamond,  opera  ;  Neroue,  do.  ;  Golden 
Dream,  opei'etta  ;  Songs  and  miscellaneous 
works. 

CARTER,  HENRY,  born  in  London, 
England,  March  6,  1837,  still  living,  1888. 
Organist,  brother  of  George  and  William 
Carter ;  pupil  on  the  organ  of  Avigust 
Haupt,  on  the  pianoforte  of  Ernst  Pauer, 
and  iu  composition  of  Frederick  Kiel,  Fer- 
dinand Hiller,  Sir  John  Goss,  and  Dr.  Steg- 
gall.  At  the  age  of  nine  he  was  organist  at 
Northchurch,  England,  and  later  at  New- 
ington  Butts,  London  ;  when  about  seven- 
teen he  removed  to  Canada,  and  shortly  af- 
terwards was  made  organi.st  of  the  Quebec 
English  Cathedral.  Subsequently  he  was 
organist  of  the  Church  of  the  Advent,  Bos- 
ton, of  St.  Stephen's  Church  in  Providence, 
R.  I.,  and  in  1873-80  of  Trinity  Church, 
New  York.  In  1880  he  became  professor 
of  the  pianoforte,  voice,  and  organ,  and  lec- 
turer on  music  in  the  College  of  Music, 
Cincinnati,  which  position  he  resigned  in 
1883  to  become  organist  and  choirmaster 
of  Plymouth  Church,  Brooklyn.  Later  he 
was  organist  of  the  Forty-eighth  Street  Col- 
legiate Church,  New  York.  Mr.  Carter  has 
given  many  organ  concerts  in  New  York, 
Brooklyn,  Cincinnati,  Pro\'idence,  and  Bos- 
ton and  vicinity,  and  ranks  among  the  finest 
organists  in  America.     Works  :  2  quartets 


for  stringed  instruments  ;  God  who,  in  sun- 
dry times,  anthem  for  orchestra,  ch(jrus, 
quartet,  and  soli ;  Psalm  122,  anthem  ; 
Nunc  Dimittis,  in  D  ;  The  Lily  Maid  of  As- 
tolat,  I  told  you  the  winter  would  go, 
love,  four-part  songs  ;  Breathe,  Trumpets, 
breathe,  song  ;  and  other  music  for  the  or- 
gan and  voice. 

CARTER,  THOMAS,  born  in  Ireland  in 
1735  (?),  died  in  Loudon,  Oct.  12,  1804. 
Dramatic  composer,  pianist,  and  singer  ; 
studied  music  in  Italy,  went  with  an  Eng- 
lish regiment  as  bandmaster  to  Calcutta, 
where  he  undertook  the  direction  of  the 
music  at  the  theatre  ;  the  climate  proving 
injurious  to  his  health,  he  returned  to  Eng- 
land, brought  out  several  operas  at  the 
Drury  Lane  Theatre,  and  iu  1787  became 
musical  director  of  the  Royalty  Theatre. 
Works  —  Ojjeras:  The  Rival  Candidates, 
given  at  Drury  Lane,  1775  ;  The  Milesians, 
ib.,  1777 ;  The  Fair  American,  ib.,  1782  ; 
The  Birthday,  Royalty  Theatre  ;  The  Con- 
stant Maid,  ib.;  Just  in  Time,  Covent  Gar- 
den, 1792  ;  Concertos,  sonatas,  and  studies 
for  the  pianoforte.  He  is  best  known  as 
the  composer  of  "O  Nannj',  wilt  thou  gang 
wi'  me'?,"  and  the  naval  song,  "Stand  to 
your  guns." — Fetis  ;  Meudel. 

CARTER,  WILLIAM,  born  in  London, 
Dec.  7,  1838,  still  Uv- 
ing,  1888.  Church 
composer,  brother  of 
George  and  Henry 
Carter,  pupil  of  his 
father  and  of  Ernst 
Pauer.  He  was  organ- 
ist successively  of 
Christ  Church,  Roth- 
erhithe,  1848;  Little 
S  t  a  n  m  o  r  e ,    W  h  i  t  - 

church,  1850 ;  St.  Mary,  Newington,  Sur- 
rey, 1854  ;  St.  Helen's,  Bishopsgate,  1856  ; 
iu  exchange  with  his  brother  Henry,  of 
Quebec  Cathedral,  1859,  iu  which  year  he 
conducted  the  largest  Handel  Festival  ever 
given  in  Canada  ;  organist  of  St.  Stephen's, 
Westbourne  Park,  London,  1860  ;  St.  Paul's, 


■m 


CAHTIEII 


Ouslow  Square,  18G8.  He  establisLed  a 
choir  of  one  thousand  voices  on  the  opeuing 
of  the  Koyal  Albert  Hall,  1871.  ^Vorks  : 
Placida,  cantata,  1871  ;  Thanksgiving  An- 
them, 1872  ;  Eepent  ye,  for  the  Kingdom 
of  Heaven,  anthem  ;  Part-songs  and  songs. 

CARTIER,  HENRI,  French  dramatic 
composer,  contemporary.  He  is  the  author 
of  two  operettas :  L'homme  entre  deux 
ages,  produced  at  the  Bouffes  Parisieus, 
May  6,  18G2  ;  and,  Le  train  des  maris,  text 
by  Emile  Abraham,  at  the  Atheut'e,  Dec. 
25,  1867.— Futis,  Supplement,  i.  155. 

CARTIER,  JEAN  BAPTISTE,  born  in 
Avignon,  May  28,  17(55,  died  in  Paris,  1841. 
Violinist,  jiupil  of  the  Abbe  Walraef  and  in 
1783  of  Yiotti  in  Paris,  where  later  he  re- 
vived in  his  playing  and  teaching  the  clas- 
sical style  of  Corelli,  Porjiora,  Nardiui,  and 
other  great  Italian  masters.  He  was  ac- 
companist to  Marie  Antoinette  until  the 
Revolution.  In  1791  he  was  engaged  at 
the  Opera  as  assistant  leader  and  solo 
player.  He  was  also  a  member  of  Napo- 
leon's private  band  under  Paisiello,  and, 
after  the  Restoration,  of  the  royal  band 
until  1830.  In  his  work,  L'art  du  Violon 
(Paris,  1798  and  1801),  he  gives  a  compre- 
hensive selection  from  the  best  Italian, 
French,  and  German  masters,  forming  a 
practical  history  of  violin  literature  in  the 
17th  and  18th  centuries. — "\Vasielew.ski,  Die 
Violine  und  ihre  Meister,  261  ;  Riemann  ; 
Mendel ;  Grove  ;  Fetis. 

CARULLI,  FERDINANDO,  born  at  Na- 
ples, Feb.  10,  1770,  died  in  Paris  in  Feb- 
ruarj',  1841.  Eminent  guitar  player,  self- 
taught,  after  first  learning  the  violoncello 
under  the  instruction  of  a  priest.  In  1808 
he  went  to  Paris,  where  he  obtained  a 
brilliant  success  in  concerts.  He  pub- 
lished about  300  compositions,  consisting 
of  solos,  duos,  trios,  quartets,  concertos, 
fantasias,  airs  varies,  etc.,  and  a  ]Method, 
which  passed  through  four  editions.  He 
also  wrote  a  treatise  :  L'Harmonie  appli- 
quee  a  la  Guitare  (Paris,  Petit,  1825). — Fe- 
tis ;  Mendel. 


CARULLI,  GUSTAVE,  born  in  Leghorn 
in  1797,  died  in  Boulogne,  April,  1877. 
Vocal  composer,  sou  of  Ferdinando  Carulli. 
About  1835  he  brought  out  in  Italy  an 
ojjera,  entitled  Tre  mariti.  He  also  pub- 
lished compositions  for  the  pianoforte  and 
for  the  voice,  in  France,  Italy,  and  Germany. 
His  trios  for  three  voices  are  the  best  of  his 
compositions. — Fotis,  Supplement,  i.  155. 

CARUSO,  LUIGI,  born  in  Naples,  Sept. 
25,  1754,  died  in  Perugia  in  1821.  Dra- 
matic composer,  pupil  of  his  father,  a  musi- 
cian, and  of  Nicolo  Sala.  He  was  maestro 
di  cappella  of  the  Cathedral  of  Perugia  and 
director  of  the  public  school  of  that  city. 
Works — Ojjeras:  II  baron  e  di  Trocchia, 
given  in  Naples,  1773  ;  Artarserse,  London, 
1774  ;  II  marchese  villano,  Leghorn,  1775  ; 
La  Mirandolina,  Trieste,  1776 ;  La  cafleti- 
era  di  spirito,  Brescia,  1777  ;  La  virtuoso 
alia  moda,  II  cavaliers  maguifico,  Florence, 
1777  ;  La  creduta  pastorella,  Rome,  1778  ; 
II  tutore  burlato,  Bologna,  1778 ;  La  Fie- 
ra,  Rome,  1779  ;  L'  amor  volubile,  Bologna, 
1779  ;  La  barca  di  Padova,  Venice,  1779  ; 
Scipione  in  Cartagine,  II  fanatico  per  la 
musica,  Rome,  1781  ;  L'  albergatrice  vi- 
vace, Milan,  1781 ;  H  marito  geloso,  Venice, 

1781  ;   II   matrimouio   in   comedia,    Milan, 

1782  ;  L'  inganno,  Naples,  1782  ;  La  ge- 
losia,  Rome,  1783  ;  II  vecchio  burlato,  Ven- 
ice, 1783  ;  Gli  amanti  alia  prova,  ib.,  1784; 
Gli  scherzi  della  fortuna,  Rome,  1784  ;  Le 
quattro  stagioni,  I  puntigli  e  gelosie  fra 
marito  e  moglie,  Naples,  1784  ;  Giunio 
Bruto,  Rome,  1785  ;  La  parentela  ricono- 
sciuta,  Florence,  1785  ;  Le  sjiose  ricupe- 
rate,  Venice,  1785  ;  Le  rivali  in  puntiglio, 
Venice,  1786  ;  II  poeta  melodrammatico,  Ve- 
rona, 1786  ;  II  poeta  di  villa,  Lo  studente 
di  Bologna,  Rome,  1786  ;  L'  impresario 
fallito,  Palermo,  1786  ;  Alessandro  nell'  In- 
die, II  maledico  confuso,  Rome,  1787  ;  Gli 
amanti  dispei-ati,  Naples,  1787 ;  I  campi 
Elisi,  Milan,  1788  ;  L'  Antigono,  L'  impru- 
dente,  Rome,  1788  ;  La  sposa  volubile,  La 
disfatta  di  Duntalmo,  Le  due  sjDose  in 
contrasto,    Rome,   1789  ;  L'  Amleto,   Flor- 


278 


CAU\'ALII() 


ence,  1790  ;  Attalo,  Rome,  1790  ;  Gli  aiiian- 
ti  alia  prova,  Milan,  1790  ;  Alessaudro  iielF 
ludie  (with  new  music) ;  II  Demetrio,  Venice, 
1791  ;  La  locaudiera  astuta,  Rome,  1792  ; 
Gli  amanti  ridicoli,  ib.,  1793  ;  L'  Antigouo, 
L'  oro  non  compra  amore,  Venice,  1794  ;  II 
Giuocator  del  lotto,  Rome,  1795  ;  La  Lo- 
doiska,  Rome,  1798  ;  La  tempesta,  Naj)les, 
1799  ;  La  donna  bizzarra,  Le  Spose  dispa- 
rate, Rome,  1800  ;  Azemiro  e  Cimene,  ib., 
1803  ;  La  ballerina  raggiratrice,  ib.,  1805  ; 
La  fuga,  ib.,  1809  ;  L'  avviso  ai  maritati, 
ib.,  1810.  Oratorios:  Jefte,  1779  ;  Giuditta, 
Urbino,  1781  ;  La  scoufitta  degli  Assiri, 
1793  ;  H  trionfo  di  David,  1791  Church 
Music :  Messa  de'  morti  ;  Dixit ;  Messe 
solenni,  psalms,  litanies,  etc.  —  Fi'tis  ; 
Mendel ;  Schilling. 

CARVALHO,  JOiO  DE  SOUSA,  flour- 
ished in  Lisbon  about  the  middle  of  the 
18th  century ;  was  living  in  1793.  Dra- 
matic composer  ;  studied  music  in  Najjles 
with  several  other  pensioned  Portuguese 
musicians.  On  his  return  he  was  made 
music  teacher  to  the  royal  family  at  the 
death  of  David  Perez  (1778).  From  1769 
to  1789  he  brought  out  twelve  operas,  and 
many  pastorals,  cantatas,  and  serenades, 
which  were  given  at  the  court  theatres,  and 
at  the  palaces  of  Aguda  and  Queluz.  His 
reputation  spread  to  Italy,  where  several  of 
his  best  operas  were  played.  Many  of  his 
songs  were  published  in  the  Jornal  de  Mo- 
dinhas,  a  collection  of  songs. — Fctis,  Sup- 
plement, i.  155  ;  Vasconcellos,  40. 

CASALI,  GIOVANNI  BATTISTA,  born 
in  1730,  died  in  Rome  in  1792.  Composer 
of  church  music,  and  one  of  the  last  who 
wrote  music  for  voices  a  cappella.  He  was 
maestro  di  cappella  of  S.  Giovanni  in  La- 
terano,  Rome,  from  1759  imtil  his  death. 
Works  :  Campaspe,  opera,  given  in  Venice, 
1740  ;  Abigail,  oratorio,  Rome,  1770  ;  three 
other  oratorios  ;  four  masses  ;  motets,  and 
magnificats.  A  mass  and  four  other  pieces 
by  him  are  given  by  Liick  (Samndnng, 
1859),  and  the  second  mass  in  Novello's 
first  volume  is  by  him. — Fetis ;  Mendel. 


CASAJIORATA,    LUIGI    FERNANDO, 

born  at  "Wiirzburg,  May  15,  1807,  died  at 
Florence,  September,  1881.  Dramatic  com- 
poser. He  was  a  critical  and  biographical 
writer  on  the  staifof  the  "  Gazzetta  musicale 
di  Milano."  His  Iginia  d'  Asti,  ojaera,  was 
given  in  Bologna  in  1838.  He  is  the  au- 
thor also  of  compositions  for  the  pianoforte 
and  the  harp,  of  arrangements  of  Bellini's 
and  Donizetti's  music,  and  of  masses,  motets, 
hynms,  and  duetti  per  camera. — Fetis  ;  do., 
Suiipk'ment,  i.  157  ;  Mendel,  Ergiinz.,  55  ; 
Riemann,  149. 

CASANOVAS,  Padre  ANTONIO  FRAN- 
CISCO NARCISO,  born  at  Sabadell,  Spain, 
June,  1737,  died  (?).  Organist,  educated  at 
the  Convent  of  Montserrat.  He  became  one 
of  the  greatest  organists  of  his  time,  not- 
withstanding a  physical  defect  in  his  hands. 
Among  his  works,  preserved  in  MS.  in  the 
archives  of  his  convent,  are  :  A  Benedictiis, 
some  very  remarkable  responses  for  Holy 
Week,  and  a  Salutaris  for  four  voices,  con- 
sidered one  of  the  best  works  of  the  kind 
ever  written. — Fetis,  Supjilement,  i.  158  ; 
Mendel,  Ergiinz.,  56. 

CASATI,  FRANCESCO,  born  in  Milan 
about  the  end  of  the  16th  century.  Oi-- 
gauist  of  Sta.  Maria,  Milan,  and  afterwards 
of  S.  Marco,  Venice.  Some  of  his  works 
are  in  a  collection  made  by  Pietro  Frances- 
co Lucino,  entitled  :  Concert!  diversi,  etc. 
(Milan,  161G)  ;  and  several  of  his  pieces  are 
in  Pergameni's  "Parnassus  musicus"  (Ven- 
ice, 1615).— Fetis  ;  IMendel. 

CASATI,  GASPARO,  maestro  di  cap- 
pella of  the  Cathedral  of  Novaro,  Piedmont, 
about  1650.  Fetis  quotes  a  list  of  his 
works,  among  which  are  the  following : 
Partitura  sola  de'  sacri  concert!  a  voce  sola, 
con  il  basso  per  1'  organo,  op.  2  (Venice, 
1641)  ;  Motetti  coucertati  a  1,  2,  3,  4  voci 
ed  organo,  con  una  messa  a  quattro,  op.  1 
(ib.,  1643) ;  II  Terzo  Libro  de'  sacri  cou- 
certi  a  2,  3,  4  voci,  op.  3  (Venice,  1642),  etc. 
—Fetis  ;  Mendel. 

CASATI,  GIROLAMO,  maestro  di  cap- 
pella in  Mantua  about  the  end  of  the  16th 


CASATI 


century.  Works :  Harnionica?  Cantiones  a 
1,  '2,  3,  4  et  5  vocibus  cum  Missa,  Magnif- 
icat, Litauiis  op.  3  ;  Collection  of  masses, 
psalms,  and  vespers  for  2,  3,  and  4  voices. 
— Fiitis  ;  Mendel. 

CASATI,  TEODORO,  born  in  Milan 
about  1630.  He  was  maestro  di  cappella 
of  S.  Fedele,  then  of  S.  Sejjolcro,  and  or- 
ganist of  Milan  Cathedral  in  16G7.  Pic- 
ciuelli  mentions  several  masses  and  motets 
published  by  Casati,  but  gives  no  names 
or  dates. — Fetis  ;  Mendel. 

CASCIATmi,  CLAUDIO,  flourished  in 
the  second  half  of  the  ISth  century.  He 
was  chorister  in  the  Church  of  S.  Lorenzo 
in  Damaso,  Eome.  His  best  works,  pre- 
served in  MS.  in  the  libraries  in  Eome, 
are  :  Eequiem  mass  for  three  voices  ;  do. 
for  four  voices  ;  Miserere  for  four  voices  ; 
Psalm,  Dixit  Domiuus,  for  eight  voices ; 
Motets,  Zacharise  festinans  descende,  and 
Angelus  Domini,  for  eight  voices. — Fetis  ; 
Mendel. 

CASELLA,  a  Florentine  composer  of  the 
13th  century  ;  died  about  1300  (?).  He 
was  the  first  noteworthy  Italian  comj50ser 
of  madrigals,  and  is  celebrated  as  the  friend 
of  Dante,  who  immortalized  him  in  liis 
great  poem  ("  Purgatorio,"  ii.  91).  Milton 
also  refers  to  him  in  his  sonnet  to  H.  Dawes. 
Little  is  known  of  him,  but  he  is  supposed 
to  have  been  one  of  the  authors  of  the  Laudi 
spirituali,  a  collection  of  canticles  of  never- 
dj'ing  beauty,  though  some  of  them  are  five 
and  a  half  centuries  old. — Fetis  ;  Mendel. 

CASELLA,  PIETRO,  born  at  Pieve  (Um- 
bria)  in  1769,  died  in  Naples,  Dec.  12, 
1843.  Dramatic  and  church  composer, 
pupil  at  the  Conservatorio  San  Onofrio, 
Naples,  of  Giacomo  Insanguine  ;  was  suc- 
cessively maestro  di  cappella  at  different 
churches,  and  became  professor  of  thorough 
bass  at  the  Conservatorio  Reale  San  Pietro  e 
Majella.  Works  :  L'  inuocenza  conosciuta, 
L'  equivoco,  opere  buffe,  given  at  Naples, 

1798  ;  Paride,  opera,  ib.,  Teatro  San  Carlo, 

1799  ;  II  contento  per  amore,  ojsera  buffa, 
La  donna  di  buon  carattere,  opera,  Eome, 


about  1800  ;  Virginia,  do.,  Milan,  Scala, 
1812  ;  Maria  Stuarda,  Florence,  Teatro  della 
Pergola,  1813  ;  Many  masses,  vespers,  mo- 
tets, psalms,  etc. — Fetis  ;  do.,  Supplement, 
i.  158  ;  Mendel. 

CASENTINI,  MAESILIO,  composer  of 
madrigals  and  other  vocal  music,  published 
at  Venice  in  1607  and  1615.  He  was  maes- 
tro di  cappella  at  Gemona  in  1607.  He 
wrote  madrigals  for  five  voices,  and  also 
Cantica  Salomouis  for  sis  voices  (Venice, 
1615).  In  the  library  of  the  King  of  Portu- 
gal are  the  following  :  Tirsi  e  Clori,  Madri- 
gali  a  cinque,  lib.  3  ;  and  Madrigali  a  cin- 
que, lib.  5.. — Fetis  ;  Mendel. 

CASINI,  GIOVANNI  MAEIA,  born  in 
Florence  towards  the  close  of  the  17th  cen- 
tury, died  (?).  Vocal  and  instrumental  com- 
j)oser  and  organist.  He  studied  in  Flor- 
ence and  in  Eome  under  Matteo  Simonelli 
and  Bernardo  Pasquiui,  and  then  became 
organist  of  the  cathedral  at  Florence.  He 
had  some  talent,  but  was  eccentric,  and 
joined  the  ranks  of  some  of  the  musical 
reactionists  of  the  17th  century  after  the 
example  of  Doui,  Vicentino,  and  Colonna. 
Works :  A  book  of  motets  for  four  voices 
without  organ  in  the  style  of  the  old  Eo- 
man  school,  called  stile  osservato  (Eome, 
1706)  ;  Eesponsori  per  la  Settimaua  Santa 
a  4  voci  (1706)  ;  Motetti  a  4  voci  a  cap- 
pella ;  and  for  the  organ,  Fantaisie  e  toc- 
cate  d'  intavolatura  ;  Pensieri  per  1'  orgauo 
in  partitura  (Florence,  1714).  —  Grove ; 
Fetis  ;  Mendel. 

CASOETI,  ALEXANDEE,  born  in  Co- 
burg,  Germany,  Nov.  27,  1830,  died  in  Dres- 
den, Sept.  28,  1867.  Violinist,  pupil  at  the 
Conservatoire,  Brussels,  of  Meerts  and  de 
Beriot  on  the  violin,  and  of  Fetis  in  compo- 
sition ;  spent  several  years  on  concert  tours 
in  Italy,  and  was  made  professor  of  the  Ac- 
cademia  di  Sta.  Cecilia,  Eome,  in  1855. 
Works  :  Maria,  opera ;  Four  concertos  for  vio- 
lin with  orchestra  ;  Several  overtures  ;  Quar- 
tets for  stringed  instruments,  etc. — Mendel. 

CASPAE,  CHAELES,  born  in  Coburg, 
Nov.  27,  1830.  died  in  Dresden,  Sept.  28, 


sso 


CASPERS 


1867.  Violinist,  pupil  at  tlie  Brussels  Con- 
servatoire. Among  his  works,  wLich  were  of 
gi-eat  promise,  are :  Four  concertos  for  violin, 
several  quartets,  and  an  unpublished  Italian 
opera,  Maria. — Futis,  iSui)plement,  i.  159. 

CASPERS,  LOUIS  HENRI  JEAN,  born 
in  Paris,  Oct.  2,  1S25,  died  tliere,  Dec.  19, 
18G1.  Dramatic  composer  and  pianist, 
pupil  at  the  Conservatoire  of  Zimmermauu  ; 
studied  harmony  from  1813  to  1817,  win- 
ning in  1845  the  second,  and  in  1817  the 
first  prize.  He  then  studied  counterj)oiut 
and  fugue  under  Halcvy,  and  obtained  the 
Conservatoire  pirize  in  1819.  Works — 
Operas :  Le  chapeau  du  roi,  opcra-co- 
mique,  produced  at  the  Theatre  Lyrique, 
Paris,  1856 ;  La  charmeuse,  do.,  BoufTes 
Parisiens,  1858  ;  Dans  la  rue,  operetta,  ib., 
1859  ;  Ma  taute  dort,  opera-comique,  The- 
atre Lyrique,  1860 ;  La  barouue  de  San 
Fi'ancisco,  opei'etta,  Bouft'es  Parisiens,  1861 ; 
Cousin  Babylas,  ib.,  1861.  He  has  also 
written  choruses  for  the  St.  Cecilia  Society. 
Melodies,  romances,  preludes  for  the  piano- 
forte in  the  f  ugued  style,  a  bolero  for  piano- 
forte, nocturnes,  and  fantaisies,  of  which  a 
complete  list  is  given  by  Fetis. — Fetis  ;  do.. 
Supplement,  i.  159  ;  Mendel. 

CASSELL,  GUILLAUME,  born  in 
Lyons,  France,  Oct.  12,  1791,  died  in  Brus- 
sels, Oct.  11,  1836.  Vocal  comjjoser  and 
tenor  singer,  pupil  in  Brussels  of  Georges 
Jadin,  and  at  the  Paris  Conservatoire  of 
Garat,  Talma,  and  Baptiste.  He  made  his 
debut  at  Amiens,  sang  at  the  Opera  Co- 
mique,  Paris,  three  years,  and  tiually  went  to 
Brussels,  where,  after  playing  live  years,  he 
retired  from  the  stage  in  1832.  He  be- 
came professor  of  singing  at  the  Brussels 
Conservatoire  in  1833,  and  had  many  well- 
known  singers  among  his  pupils.  He  wrote 
romances  and  nocturnes  ;  a  cantata  for  the 
anniversary  of  the  birth  of  Pierre  Corneille  ; 
a  Messe  solennelle  (Brussels),  and  several 
church  pieces. — Fetis  ;  Mendel. 

CASTA   DIVA.     See  Ni,rma. 

CASTELLACCI,  LUIGI,  born  in  Pisa  in 
1797,  died  (?).     Instrumental  composer  and 


guitarist.  He  lived  in  Paris  many  years 
and  2'i'ljlished  more  than  two  hundred 
works,  among  which  is  a  Method  for  the 
Guitar,  in  two  parts. — Fetis. 

CASTELLO,  DARIO,  leader  of  tlie  or- 
chestra of  San  Marco,  Venice,  iu  the  early 
part  of  the  17th  century.  He  is  often  des- 
ignated by  the  title  of  one  of  his  works. 
Capo  di  compagnia  di  musichi  instrumonti 
da  fiato.  Among  his  comjiositions  are  :  So- 
nate  concertate  a  quattro  stromenti  (2  parts, 
Venice,  1626-27) ;  Sonate  concertate  in  stile 
moderno  per  sonar  nel  orgauo  ovvero  spiu- 
etta  con  diversi  stromenti  (2  books,  Venice, 
1629-1611  ;  2d  ed.,  1658).— Fetis  ;  Mendel. 

CASTELLO  DI  KENILWORTH,  IL, 
Italian  opera,  music  by  Donizetti,  repre- 
sented at  Palermo,  1826.  Called  also  Elisa- 
betta  a  Kenilworth. 

CASTELLO,  GIOVANNI,  Italian  harpsi- 
chord player,  living  at  Vienna  iu  the  early 
part  of  the  18th  century.  His  works  are 
published  under  the  follo\ving  titles  :  Neue 
Clavieriibuug,  bestehend  iu  eine  Sonata, 
CaxH'iccio,  Allemanda,  Corrente,  Sarabauda, 
Giga,  Aria  con  xii.  variazioni  d'  iutavolatura 
di  cembalo  (Vienna,  1722). — Fetis. 

CASTELLO,  PAOLO  DA,  Venetian  com- 
jjoser,  chorister  of  San  Marco  in  1670.  He 
produced  an  oratorio,  II  trionfo  di  David, 
at  Vienna  (1683),  of  which  he  wrote  both 
the  words  and  the  music. — Fetis  ;  Mendel, 
ii.  337. 

CASTIL-BLAZE,  FEANgOIS  HENRI 
JOSEPH,  boru  at  Cavaillon  (Vaucluse),  Dec. 
1,  1784,  died  in  Paris,  Dec.  11,  1857.  Al- 
though distinguished  especially  as  a  writer 
on  music,  critic,  and  author  and  editor  of 
French  versions  of  German  and  Italian  ojd- 
eras,  he  has  also  composed  Pigeon  vole,  ou 
flvite  et  poignard  (afterwards  renamed  La 
colombe),  comic  opera,  given  at  the  Theatre 
desltaliens,  1813  ;  Belzebuth,  ouLesjeux  du 
roi  Rene,  grand  opera,  Montpellier,  1844  (?)  ; 
Choriste  et  liquoriste,  opera-bouile,  given 
in  the  provinces  ;  Mass  for  four  voices  and 
chorus  ;  Motets,  anthems,  and  other  church 
music  ;  Quartets  for  violin  ;  Trios  for  bas- 


281 


CASTILLON 


soon  ;  Sonatas  ;  Eomances,  etc. — Futis  ;  La- 
rousse  ;  Mendel;  Schilling. 

CASTILLON  DE  SAINT-VICTOE, 
ALEXIS,  Vicomte  DE,  boru  in  1829,  died 
in  Paris,  March  5,  1873.  He  resigned  his 
commission  in  the  army  on  his  father's 
death,  and  devoted  himself  to  the  study  of 
music,  for  which  he  had  always  had  a  pref- 
erence. He  was  the  pupil  of  Charles  De- 
lious  and  Cesar  Frank  for  the  pianoforte, 
and  of  Victor  Masse  for  the  theorj'  of  music. 
He  left  numerous  works,  including  sympho- 
nies, quintets,  pianoforte  music,  and  songs. 
— Fetis,  Supplement,  i.  159. 

CASTOR  ET  POLLUX,  lyric  tragedy  in 
five  acts,  with  a  i^rologue  in  verse,  text  by 
Gentil  Bernard,  music  liy  Kameau,  repre- 
sented at  the  Academie  Eoyale  de  Musique, 
Paris,  Oct.  24,  1737.  This  work,  Eameau's 
masterijiece,  was  reproduced  in  1751.  The 
beautiful  dramatic  air,  "Tristes  apprets, 
pales  flambeaux,"  still  forms  part  of  the  rep- 
ertory of  the  Societe  des  Concerts  du  Con- 
servatoire. Candeille  set  Bernard's  work  to 
new  music,  preserving  this  air  and  some  of 
Eameau's  choruses,  which  was  performed 
at  the  Opera,  June  14,  1791,  and  again  in 
1814  and  in  1817.  Louis  XVL  and  Marie 
Antoinette  attended  the  opera  for  the  last 
time  at  its  representation  on  June  20,  1791. 
The  same  text,  rewritten  by  Morel,  and  set 
to  music  by  Winter,  was  represented  at  the 
Academie  Eoyale  de  Musique,  Paris,  Aug. 
19,  1806,  but  without  success.  Castore  e 
Polluce,  Italian  opera,  music  by  Bianchi, 
Florence,  1780  ;  by  Federici,  text  by  Eo- 
raanelli,  Milan,  1H03.  Kastor  und  Pollux, 
German  opera,  text  and  nnisic  by  Vogler, 
Mannheim,  1791. 

CASTEITIUS  (Castritz),  IVIATTHIAS, 
German  contrapuntist  of  the  IGth  century. 
He  published  the  following  works  :  Nova 
harmonia,  quinque  vocum  (Nuremberg, 
15G9) ;  Carmina  quatuor  vocibus  concer- 
tantibus  (ib.,  1571)  ;  Symbola  princif)ium, 
4  et  5  vocum  (ib.,  1571).— Fetis  ;  Mendel. 

CASTRO,  JE.A.N,  French  composer  of  the 
16th  century.    He  was  living  at  Lyons  about 


1570.  Fetis  is  of  oj)inion  that  he  was  iden- 
tical with  Jean  de  Castro,  but  IM.  de  Bois- 
gelon,  an  authority  quoted  by  Fetis,  thinks 
not.  His  works  were  published  between 
1570  and  1592,  by  Le  Eoy  in  Paris,  and  by 
de  Tournes  at  Lyons,  and  consist  of  nu- 
merous songs,  sonnets,  and  madrigals,  in 
four,  five,  six,  seven,  and  eight  parts.  One 
of  these  jjublications  is  called  Chansons  a 
trois  parties  (Paris,  1580). — Fetis. 

CASTEO,  JEAN  DE,  born  in  Liege  about 
1530,  died  after  1592  (?).  Composer  and 
lutist,  living  at  Lyons  in  1570  ;  maitre  de 
chapelle  to  the  Prince  of  Juliers  in  1580. 
He  wrote  madrigals,  odes,  chansons,  motets, 
published  in  several  collections  at  Antwerp, 
Louvain,  Paris,  Douai,  Cologne,  and  Frank- 
fort ;  several  are  preserved  in  the  Munich 
Library.  Fetis  gives  a  full  list  of  his  works. 
— Fetis ;  Grove  ;  Biog.  nat.  de  Belgique,  iii. 
374. 

CASTEOVILLAEI,  Padre  DANIELE, 
lived  in  Venice  about  the  middle  of  the 
17th  centurj'.  He  was  a  monk  of  the  Order 
of  Cordeliers.  Among  his  operas,  all  pro- 
duced in  Venice,  were  :  Gli  avvenimenti  di 
Orinda,  1659  ;  La  Pasifae,  1661  ;  and  La 
Cleopatra,  1662.— Fetis  ;  Mendel. 

CASTEUCCI,  PIETEO,  born  in  Eome  in 
1689,  died  in  London  in  1769.  Violinist, 
pupil  of  Corelli.  He  went  in  1715  with 
Lord  Burlington  to  London,  where  he  was 
leader  of  Handel's  opera  band.  Among  his 
published  works  are  two  sets  of  solos  for 
violin  with  thorough  bass,  and  twelve  con- 
certos for  violins,  which,  though  hardly 
known,  have  great  merit.  His  brother 
Prospero  (died,  London,  1760),  violinist 
in  the  orchestra  of  the  Italian  opera,  Lon- 
don, and  for  some  years  conductor  of  the 
concerts  at  the  Castle  Tavern,  published 
six  solos  for  violin  and  bass. — Wasielewski, 
Die  Violine  und  ihre  Meister,  56  ;  Grove  ; 
Eiemann,  150  ;  Mendel. 

CAST  THYBUEDEN  UPON  THE  LOED. 
See  Wirf  dein  Anliegen  auf  den  Herrn. 

CASULANA,  MADDALENA,  born  in 
Brescia     about    1540.      Vocal     composei-. 


CATALANO 


chiefly  of  madrigals,  among  wliicli  are  : 
Madrigali  a  quattro  voci  (Venice,  1568) ;  II 
secondo  libro  de'  Madrigali  a  quattro  voci 
(Brescia,  1593).— Fetis  ;  Mendel. 

CATALANO,  OTTAVIO,  bom  at  Euua, 
Sicilj',  aljout  the  end  of  the  IGth  centmy, 
living  in  lOlG.  Organist  and  church  com- 
poser, one  of  the  first  who  made  use  of 
the  figured  basso  continuo  in  writing  for 
the  organ.  He  was  maestro  di  cajipella  of 
the  cathedral  at  Messina.  Two  collections 
of  his  motets  were  published  (Rome, 
1609-1G16).  There  is  a  Beatus  vir,  for 
eight  voices,  in  the  library  of  the  Abbate 
Santini,  Rome,  and  Bodenschatz  has  in- 
serted one  of  his  motets  for  eight  voices  in 
Florilegium  Portense. — Fetis  ;  Mendel. 

CATALOGUE  SONG.  See  Don  Gio- 
vanni. 

CATARINA  CORNARO,  Italian  opera, 
music  bj'  Donizetti,  represented  at  the  San 
Carlo,  Naples,  during  the  carnival  of  ISii. 
It  was  the  last  work  of  the  comjioser,  who 
died  the  same  year.  Subject,  the  story  of 
the  famous  Queen  of  Cyprus,  which  Halevy 
had  previously  treated  in  La  Heine  de 
Chypre.  Written  originally  for  Vieinia, 
Donizetti's  work  was  coldly  received  in 
Naples,  and  it  had  no  better  success  on  its 
reproduction  in  1845.  It  has  not  been  per- 
formed since.  Katharina  Cornaro,  German 
opera,  music  by  Franz  Lachner,  first  repre- 
sented in  Munich,  1841.  It  had  a  con- 
siderable success,  and  was  given  also  in 
Vienna,  Berlin,  Frankfort,  and  Brussels. 

CATE,  ANDRIES  TEN,  born  at  Amster- 
dam, Netherlands,  May  22, 1796,  died  there, 
July  27,  1858.  Amateur  dramatic  com- 
poser, violinist,  and  violoncellist  ;  puj^il  of 
Bertelmann  on  the  pianoforte  and  in  com- 
position, of  Teniers  on  the  violin,  and  of 
Meyer  on  the  violoncello.  Works :  Seid 
en  Palmire,  Dutch  opera,  given  at  Amster- 
dam, 1831  ;  Constantiu,  do.,  ib.,  1835  ;  Nu- 
ma  Pompilius,  do.  ;  3  grand  cantatas,  and 
10  other  cantatas  for  different  voices  and 
orchestra ;  Overture  for  fall  orchestra  and 
chorus ;  Six   patriotic   songs,    with   instru- 


ments ;  Concertinos  for  oboe,  clarinet,  and 
bassoon  ;  Quintets  and  quartets  for  string  in- 
struments ;  Church  music,  and  songs  for  one 
and  two  voices. — Fetis  ;  Mendel ;  Viotta. 

CATEL,  CHARLES  SIMON,  born  at 
L'Aigle  (Orne),  June  13,  1773,  died  in  Paris, 
Nov.  29,  1830.  Dramatic  composer,  \m\n\ 
at  the  Ecole  Royale  de  Chant,  Paris,  of  Go- 
bert  on  the  pianoforte,  and  of  Gossec  in 
harmony  and  composition  ;  as  early  as  1787 
he  became  assistant  professor  at  the  same 
institution,  and  in  1790  accompanist  at  the 
Opera  and  second  conductor  of  the  band 
of  the  National  Guard.  At  the  reorgani- 
zation of  the  Conservatoire  in  1795  he 
was  made  professor  of  harmony,  and  in 
1810  inspector  ;  resigned  in  1814.  Mem- 
ber of  the  Institut,  1815.  He  is  more 
important  as  a  theoretician  than  as  a  com- 
poser, and  his  princi^Jal  work  is  his  "Traitc 
d'Harmouie "  (Paris,  1802  ;  translated  by 
Lowell  Mason,  1832 ;  and  by  Sj^eranza  and 
Westrop,  London,  1875).  "Works — Operas: 
S(''miramis,  given  in  Paris,  Opera,  1802  ; 
L'auberge  de  Bagneres,  Les  artistes  par  oc- 
casion, ib.,  Ojjc'ra  Comique,  1807  ;  Alexandre 
chez  Apelles  (ballet),  1808  ;  Les  Buyadcrex, 
Opera,  1810  ;  Les  aubei-gistes  de  qualite, 
Oi^era  Comique,  1812  ;  Premier  en  date, 
ib.,  1814  ;  Le  sii'ge  de  Mezieres  (with  Isou- 
ard,  Cherubini,  and  Boieldieu),  ib.,  1814  ; 
Wallace,  ou  le  menestrel  ecossais,  ib., 
1817  ;  Zirphile  et  fleur  de  myrte,  Oj)e- 
ra,  1818  ;  L'ofiicier  enleve,  Opera  Comique, 
1819  ;  Marches, 
overtures,  sym- 
phonies, hymns 
for  national  fes- 
tivals ;  Sonatas, 
quartets,  quintets,  and  other  chamber  mu- 
sic.— Fetis  ;  Clement,  Mus.  celebres,  297 ; 
Mendel ;  Schilling  ;  Riemann. 

CATELANI,  ANGELO,  born  at  Guas- 
talla,  March  30,  1811,  died  at  Modena,  Sept. 
5,  186G.  Dramatic  composer,  pupil  at  Mo- 
dena of  Giuseppe  Asioli  on  the  pianoforte, 
and  of  Michele  Pusco  in  harmonj'  and 
counteriioint,  then  at  the  Naples  Conserva- 


CATEXACCI 


torio  of  Ziugarelli,  Donizetti,  and  Crescen- 
tini.  He  was  maestro  di  cappella  at  the 
theatre  in  Messina,  183J:-37,  then  city  mu- 
sic director  at  Keggio,  and  from  1838  at 
Modena,  where  he  afterwards  became  maes- 
tro di  cappella  to  the  court  and  of  the 
cathedral,  and  in  1859  was  appointed  as- 
sistant librarian  of  the  Biblioteca  Estense. 
He  is  more  noted  as  a  writer  on  the  history 
of  music.  "Works — Operas  :  II  diavolo  im- 
magiuario  ;  Beatrice  di  Tolosa  (1840)  ;  Carat- 
taco,  given  at  Modena,  IS-ll.  Church  and 
chamber  music. — Fctis  ;  Mendel ;  Riemaun. 

CATENACCI,  Padre  GIAN  DOMENICO, 
born  in  Milan  in  the  early  part  of  the  IStli 
century,  died  there  about  1800  ;  an  able 
contrapuntist  and  celebrated  organist.  He 
published  a  book  of  sonatas  in  the  fugued 
stj'le  for  organ  (Milan,  1791).  He  was  a 
good  teacher  and  had  several  celebrated  pu- 
pils  — Fetis  ;  Mendel. 

CATHALA,  JEAN,  maestro  at  the  ca- 
thedral at  Auxerre  about  the  middle  of  the 
17th  centiuy.  His  works  are  as  follows  : 
Missa  quinque  vocum  ad  imitationem  mo- 
duli, Lsetare  Jerusalem  ;  Missa  quinque 
vocum  ad  irait.  mod.,  In  luce  stellarum 
(IGGG) ;  Missa  quatuor  vocibus  ad  imit.  mod., 
luclina  cor  meum,  Deus  (1678,  second  edi- 
tion, the  date  of  first  not  known)  ;  Missa 
quinque  vocibus  ad  imit.  mod.,  Nigra  sed 
formosa  (1078,  there  is  not  a  white  note  in 
this  mass,  on  account  of  its  title) ;  Missa 
quatuor  vocibus  ad  imit.  moduli,  Nou  recuso 
laborem  (1680)  ;  Messe  syllabique  en  plain 
chant,  a  quatre  voix  (Paris,  1083). — Ft'tis. 

CATHERINE  GREY,  English  opera  in 
three  acts,  text  by  Alfred  Bunn,  music  by 
Balfe,  performed  at  Drury  Lane,  London, 
May  27,  1837.  The  composer  himself  sang 
the  part  of  the  Earl  of  Hertford  ;  Miss 
Romer  sang  Elizabeth,  and  Mrs.  Wood  (Miss 
Paton)  Catherine  Grey.  This  was  the  first 
of  Balfe's  operas  on  a  purely  English  theme. 
— Barrett,  Balfe,  110  ;  Kenney,  Memoir, 
123. 

CATHERINE  HOWARD,  French  opera, 
music  by  Litolff,  reijresented  at  the  Con- 


servatoire, Brussels,  1847.  Catarina  Ho- 
ward, Italian  opera  in  four  acts,  text  by 
Giacchetti,  music  by  Salvi,  Milan,  1846, 
Vienna,  1847  ;  by  Giuseppe  Lillo,  three  acts, 
Naples,  1849  ;  by  Antonio  Laudamo,  Mes- 
sina, 1857  ;  by  Petrella,  Rome,  1806  ;  by 
Bezzosi,  Catania,  1869. 

CATONE  IN  IITICA  (Cato  at  Utica), 
Italian  opera  in  three  acts,  text  by  Metas- 
tasio,  first  set  to  music  by  Leonardo  Vinci 
and  represented  at  the  Teatro  delle  Damme, 
Rome,  during  the  carnival,  1727.  Subject, 
the  death  of  Cato  ;  scene  in  Utica.  Char- 
acters represented  :  Catone  ;  Cesare  ;  Mar- 
zia,  daughter  of  Catone,  secretly  in  love  with 
Cesare  ;  Arbace,  Prince  of  Numidia,  friend 
of  Catone  and  lover  of  Marzia ;  Emilia, 
widow  of  Pompeo  ;  Fulvio,  legate  of  the 
Roman  Senate  and  lover  of  Emilia.  The 
name  of  Cornelia  was  changed  to  Emilia  and 
that  of  Juba  to  Arbace  bj'  Metastasio,  as 
better  suited  for  music.  The  libretto  has 
been  set  also  bj'  Giacomelli,  Vienna,  1727  ; 
Leo,  Venice,  1732  ;  Johann  Adolph  Hasse, 
Turin,  1732  ;  Pietro  Torri,  Munich,  1736  ; 
Vivaldi,  Venice  and  Verona,  1737  ;  Duni, 
Italy,  about  1738  ;  Verocaj,  Brunswick, 
1743 ;  Graun,  Berlin,  1744 ;  Jommelli, 
Vienna,  1749  ;  Ferrandini,  Munich,  1758  ; 
Ciampi,  Venice,  1750  ;  Gassmanu,  Vienna, 
about  1760  ;  Majo,  Naples,  1763  ;  Johann 
Christian  Bach,  Milan,  1758,  Loudon,  1704  ; 
Piccinni,  Naples,  1770  ;  Ottani,  Naples,  1777  ; 
Andi-eozzi,  Milan,  1782  ;  Paisiello,  Najjles, 
1788  ;  and  Winter,  Venice,  1791.  The  old- 
est treatment  of  the  subject  is  Catone  il  gi- 
ovane,  by  Monari,  given  in  Bologna,  1688. 
Others  are  Catone  Uticensi,  by  Pollarolo, 
Venice,  1701  ;  and  Cato,  German  ojsera,  by 
Reiser,  text  by  KiJnig  after  Noris,  Ham- 
burg, 1715.  II  Catone,  Italian  pasticcio, 
music  by  Handel,  was  given  at  the  King's 
Theatre,  London,  1732. 

CATRUFO,  GIUSEPPE,  born  in  Naples 
April  19, 1771,  died  in  London,  Aug.  19, 1851. 
Dramatic  composer,  pupil  at  the  Conserva- 
torio  della  Pieta  de'  Turchini  of  Tarentino 
for  basso  contiuuo,  of  Sala  for  counterpoint, 


CATTANI 


Tritto  for  dramatic  composition,  ami  La 
Barbiera  for  singing.  He  went  to  M;ilta  iu 
1791,  anil  wrote  two  opere  buffe,  II  cor- 
riere,  and  Cajacciello  disertore  ( 1792 ). 
During  the  war  in  Italy  be  became  a  soldier 
and  took  an  active  jjart  in  all  tbe  campaigns, 
but  returned  to  his  musical  avocations 
whenever  the  opjiort  unity  oftered.  At  the 
carnival  of  1799  he  produced  II  furbo 
contro  il  furbo,  opera  bufta,  at  Arezzo, 
and  wi'ote  a  Mass  and  a  Dixit  for  four 
voices,  with  chorus  and  orchestra,  for  the 
cathedral  of  that  town,  and  composed 
for  the  Teatro  La  Pergola  several  musical 
pieces  which  were  introduced  in  operas  of 
other  authors.  On  retiring  from  military 
service  in  1804  he  went  to  Geneva,  and 
wrote  a  Christus  factus  est  pro  nobis,  for 
one  voice  and  orchestra,  for  the  Church  of 
I'Auditoire,  and  brought  out  at  the  theatre 
four  comic  operas  :  Clarisse,  180G  ;  La  fee 
Urgele,  Paris,  180.5,  Geneva,  1807;  L'a- 
mant  alchimiste,  1808  ;  and  Les  aveugles 
(le  Franconville,  1809.  In  1810  he  went 
to  Paris  to  teach  singing,  and  in  1811 
published  a  collection  of  Vocalises,  which 
were  adopted  at  the  Conservatorio  in 
Milan  ;  finally  settled  in  London,  in  183.5, 
as  a  teacher  of  singing.  Works — Operas, 
all  given  in  Paris :  L'aventurier,  181.3  ; 
Fclicie,  ou  la  jeune  fiUe  romanesque,  and 
Une  matinee  de  Froutin,  1815  ;  La  ba- 
taille  de  Denain,  and  La  boucle  de  che- 
veux,  1816  ;  Zadig,  1818 ;  L'intrigue  au 
chateau,  1823  ;  Voyage  a  la  conr,  1825 ; 
Les  rencontres  (with  Lemiere),  1828  ;  Le 
passage  du  regiment,  1832.  Other  works  : 
Solfeges  progressifs,  1820 ;  Mi'thode  de 
Vocalisation  (Paris,  1830)  ;  Many  popular 
songs,  such  as,  L'infidelite  dAnnette,  La 
declaration,  Le  gondolier,  L'exile  ;  Many 
cantatas,  nocturnes,  fantaisies  for  piano- 
forte, etc. — Fetis  ;  Mendel. 

CATTANI,  LORENZO,  born  in  Tuscany, 
flourished  in  the  second  half  of  the  17th 
century.  Dramatic  composer,  Augustine 
friar  and  maestro  di  cajjpella  at  the  Cathe- 
dral of  San  Stefano  at  Pisa.     Works— Op- 


eras ;  II  conte  di  Castro  ;  La  pieta  di  Sabi- 
na  ;  II  pellegrino  ;  Cajo  Marzio  Coriolano  ; 
Quinto  Lucrezio  proscritto  ;  Geneviefa,  ora- 
torio ;  Church  music. — Fetis. 

CATTIGNO  (not  Catugno),  FRANCES- 
CO, born  in  Naples  in  1782,  died  there, 
March  28,  1847.  Dramatic  composer,  pupil 
for  fifteen  years  from  1793  at  the  Conser- 
vatorio delta  Pieta  de'  Turchini,  where  his 
uncle,  Sylvestro  Palma,  was  his  teacher  of 
singing  and  composition.  He  became  ma- 
estro di  cajjpella  to  the  churches  of  several 
convents  at  Naples,  for  which  he  wrote 
many  of  his  masses,  etc.  Among  his  com- 
positions are  several  operas,  three  of  which 
were  opere  butle,  written  for  the  Teatro 
Nuovo,  of  Naples  :  I  due  compari  ;  Le 
stravaganze  d'  amore ;  I  tinti  ammalati. 
He  rewrote  the  second  for  the  Teatro  San 
Carlo,  for  which  he  also  wrote  the  cantata 
Partenope.  Among  his  most  important 
church  compositions  are :  3  masses  for  four 
voices  and  orchestra  ;  2  Dixit ;  Venite  ex- 
ultemus,  psalm  ;  Laudate  pueri,  alia  Pal- 
estriua  for  four  voices,  composed  for  the 
court  at  Lisbon  ;  Laudate  pueri,  for  four 
voices  and  orchestra  ;  Miserere  for  three 
voices  ;  Salve  Regina  for  one,  two,  and 
three  voices  ;  Credo  for  four  voices  with 
orchestra ;  Ave  Maria  for  three  voices  ; 
Litanies  for  four  voices ;  De  Profundis  for 
three  voices  and  orchestra  ;  Te  Deum  for 
the  re-establishment  of  the  health  of  Ferdi- 
nand I.  ;  Lamentations  for  Holy  Week  ; 
Motets,  and  the  oratorio.  Ester  ed  Assuero. 
— Fetis  ;   do.,  Suppli'ment,  i.  160  ;  JMendel. 

CAULERY,  JEAN,  lived  in  Brussels  in 
1556.  He  was  maitre  de  chapelle  to 
Catherine  de'  Medici.  His  songs  are  to  be 
found  in  an  exceedingly  rare  and  valuable 
collection  entitled  :  Jardin  musical,  conte- 
nant  plusieurs  belles  fleurs  de  chansons, 
choisies  d'entre  les  cBUvi-es  de  plusieurs 
auteurs  excellents  en  I'art  de  la  musique, 
ensemble  le  blason  du  beau  et  laid  tant 
projjice  a  la  voix  comme  aux  instruments. 
Le  premier  livre.  En  Anvers,  par  Hubert 
Waelrant  et  Jean  Laet  (without  date).    The 


CAUKKOY 


second  book  is  entitled  :  Jardin  musical, 
conteuant  plusieurs  belles  fleurs  de  chan- 
sons spirituelles  a  quatre  parties,  composees 
par  Maistre  Jean  Cautery,  maistre  de  clia- 
pelle  de  la  Royne  de  France,  et  de  plusieurs 
autres  excellents  autheurs  en  I'art  de  mu- 
sique,  tant  propice  a  la  voix  comme  aux  in- 
struments. Livre  second.  En  Auvers,  eliez 
Hubert  Waelraut  et  Jean  Laet  (without 
date).  Fctis  gives  a  list  of  the  composers, 
all  well  known,  whose  songs  are  included. 
— Fetis. 

CAURROY,  FRANCOIS  EUSTACHE 
DU,  Sieur  de  Saiut-Fromin,  born  at  Ger- 
beroy,  near  Beauvais,  1.549,  died  in  Paris, 
Aug.  7,  1609.  He  was  a  canon  of  the 
Sainte-Chapelle  and  prior  of  Saint-A'ioul  de 
Provins,  and  was  a  composer  of  great  merit 
in  his  day,  sharing  with  Lasso  and  Pales- 
trina  the  title  of  prince  des  professeurs  de 
musique.  In  15G9  he  was  made  director  of 
the  king's  band,  and  held  that  otKce  during 
the  reigns  of  Charles  IX.,  Henri  HI.,  and 
Henri  IV.  The  post  of  surinteudant  de 
la  musique  du  roi  was  created  for  him  in 
1599.  He  was  awarded  the  prize  of  the 
Puy  de  Musique,  Evreux,  in  1575,  for  a 
chanson,  one  in  1576  for  a  motet,  and  the 
silver  lute  in  1583  for  a  chanson.  Works : 
Missa  pro  defunctis,  performed  at  the  fune- 
rals of  the  kings  of  France  until  the  18th 
century,  one  copy  only  of  which  exists  in 
the  Bibliotheque  National ;  Preces  eccle- 
siastic;© ;  Precum  ecclesiasticarum,  lib.  ii. 
(1509) ;  Fantaisies  in  3,  4,  5,  and  6  parts  ; 
and  Melanges  de  musique  (Paris,  1610), 
from  which  Burney  prints  a  Noel  in  four 
l^arts  in  his  3d  volume.  Du  Caurroy  has 
been  credited  also  with  the  two  aii-s  appro- 
priated by  the  Bourbons  of  France,  Ghar- 
manle  Gabrielle  and  Vive  Henri  IV. — Fetis  ; 
do.,  Supplement,  i.  160  ;  Mendel. 

CAUSSI^  JOSEPH,  born  at  Saint-Pons 
(Herault),  in  1774,  died  (?).  Pianist,  pupil 
of  his  father,  a  teacher  of  music  in  the 
collegiate  school  of  his  town.  He  went  to 
Paris  and  published  there  the  following 
compositions  :   Sonate  pour  le  ijiano  avec 


flute  obligee,  ceuvre  i  (1801) ;  Caprice  pour 
le  i)iauo,  reuvre  ii  ;  Sonates  faciles  pour  le 
piano  (1802)  ;  Serenade  pour  piano,  violon 
et  violoncelle  ;  Plusieurs  pots-pourris,  ron- 
deaux,  etc.,  pour  piano  seul. — Fetis. 

CAUSTON,  THOMAS,  born  (?),  died  in 
London  (V),  Oct.  28,  1569.  Organist,  gen- 
tleman of  the  Chapel  Royal  during  the 
reigns  of  Edward  VI.,  IMary,  and  Elizabeth. 
Some  of  his  works  may  be  found  in  Day's 
collections,  published  in  London,  1560  and 
1563.  His  style,  remarkable  for  flowing 
melody,  resembles  that  of  Orlando  Gibbons. 
— Grove. 

CAVACCIO,  GIOVANNI,  born  at  Berga- 
mo about  1556,  died  in  Rome,  Aug.  11, 
1626.  He  was  a  singer  at  the  court  of  Mu- 
nich, and,  after  visiting  Rome  and  Venice, 
maestro  di  cappella  of  the  Cathedral  of  Ber- 
gamo. Called  to  Rome  twenty  years  after- 
wards to  be  maestro  di  cappella  of  S.  M. 
Maggiore,  he  remained  there  till  his  death. 
He  was  one  of  the  composers  who  contrib- 
uted psalms  to  a  collection  dedicated  to  Pa- 
lestrina  (1592).  Works  :  Magnificats,  all  of 
which  are  mentioned  separately  by  Fetis, 
psalms,  madrigals,  etc.  (Venice  and  Milan, 
1581  to  1611).  Some  of  his  pieces  are  in 
Parnassus  Musicus,  Bergameno  (Venice, 
1615).— Fetis ;  Mendel. 

CAVALIERE  ERRANT E,  IL  (The 
Knight  Errant),  Italian  opera,  music  by 
Traetta,  represented  in  Najjles,  1777,  and  in 
Paris  at  the  Acadoniie  Royale  de  Musique, 
Aug.  4,  1779. 

CAVALIERI,  EMILIO  DE',  born  in  Rome 
about  1550,  died  before  the  end  of  the  16th 
centurj'.  A  gentleman  of  good  family,  he 
lived  at  Rome  until  called  to  the  court  of 
Florence,  where  the  Grand  Duke  Ferdinand 
do'  Medici  made  him  insiieetor-general  of  the 
arts  and  artists.  Naturally  endowed  with 
fine  musical  talents,  he  had  studied  coun- 
terpoint, singing,  and  various  instruments 
from  childhood  up.  He  wrote  madrigals, 
and  is  especially  notable  for  being  one  of 
the  first  composers  to  write  musical  plays. 
He  was  thus  the  immediate  precursor  of 


38C 


CAVALIERI 


Caccini  and  Peri,  the  real  fouuJers  of  the 
opera.  Althougli  an  iunovator  in  several 
ways,  being  the  probable  inventor  of  several 
vocal  embellishmeuts,  and  of  the  figured 
basso  continiio,  he  took  no  active  part  in  the 
famous  Florentine  music  reform.  He  was 
no  frequenter  of  the  house  of  Bardi,  where 
the  reform  in  question  was  principally 
mooted,  and  the  music  of  his  plays  II  satiro 
and  La  disperazione  di  Fileno  (brought 
out  at  Florence  in  1590)  was  wholly  in  the 
traditional  ma(lrigalesque(i.e.,  contrapuntal) 
style.  He  did  not  live  to  hear  a  perform- 
ance of  his  last  and  most  important  work,  a 
sort  of  dramatic  oratorio,  "  La  rappresen- 
tazione  del'  aiiima  e  del  corpo,"  which  was 
given  at  Sta.  Maria  in  Vallicella,  Rome,  in 
Februarj-,  IGOO.  In  this  work  Cavalieri 
shows  signs  of  trying  to  imitate  the  new 
stile  rappresentativo  of  Caccini  and  Peri ; 
indeed,  he  had  heard  the  latter's  opera 
Dafne  in  Florence  in  1594,  and  there  can 
be  little  doubt  that,  had  he  lived  longer, 
he  would  have  taken  an  active  part  in  the 
music  reform  which  resulted  in  the  estab- 
lishment of  the  dramatic,  monodic  style, 
and,  finally,  in  Monteverde's  discover}'  of 
the   tonal   system.     Besides  the  works  al- 


I  di  diversi  accomodati  per  coucerti  spirituali 
con  partitura  (Louvain,  1616). — ^Fctis  ;  Men- 

'  del. 

CAVALLI  (Pier-Francesco  Caletti-Bruni), 
called  FRANCESCO,  born  at  Crema,  near 
Venice,  1599  or  IGOO,  died  in  Venice,  Jan. 
14,  1676.  His  father  was  maestro  di  cap- 
pella  at  the  Church  of  Sta.  Maria  in  Crema. 
The  evident  musical  talent  of  the  boy  Fran- 
cesco attracted  the  notice  of  Federigo  Ca- 
valli,  Podesta  of  the  Province  of  Crema, 
and  that  nobleman  became  his  patrqu^ak- 
ing  him  with  him  on  his  return  to  Venice 
in  1616.  Here  he  was  soon  known  as 
"il  Checco  di  Ca-Cavalli "  (Franky  of  the 
House  of  Cavalli),  and  his  real  name  was 
gradually  discarded.  He  studied,  under 
several  masters,  but  especially  under  Monte- 
verde,  whose  greatest  pupil  and  follower  he 
became.  He  was  one  of  the  singers  in  the 
choir  of  San  Marco  until  1640,  when  he 
was  appointed  second  organist ;  on  Jan.  11, 
1665,  he  was  made  first  organist,  and  on  Nov. 
20,  16G8,  maestro  di  cappella,  which  post 
he  held  until  his  death.  At  his  obsequies 
the  choir  of  San  Marco  sang  a  requiem  for 
choi-uses  which  he  had  written  "for  him- 
self."  Cavalli  was  chiefly  imjjortant  as  a  dra- 


matic two  comj)oser ;  the 
stile  rappresentativo  of  Cac- 
cini and  Peri,  which  Monte- 
verde  had  developed  into  a 
really  dramatic  style,  was 
ready  mentioned,  Cavalieri  wrote  a  musical  j  treated  with  still  greater  rliythmic^freecJam 
drama,  II   giuoco    delta    cieca,  which  was ,  by  Cavalli,  whose  melodies  were  better  de- 


^%4  ko      A    ^^f^u^Ai^^ 


given    in   Florence    in  1595. — Ambi-os,  iv. 
1.54,  182. 

CAVALIERI,  GIROLAMO,  born  about 
the  end  of  the  16th  century.  Organist  and 
composer  of  church  music  and  madrigals ; 
priest  of  the  Armenian  Congregation  at 
the  Monastery  of  Saint-Damieu,  Blontfort, 
Piedmont.  Among  his  jiublished  composi- 
tions are  the  following  :  Nova  metamorfose 
a  quattro,  lib.  i.  (1600) ;  Nova  metamorfose 
a  5,  lib.  ii.,  con  partitura  (1605)  ;  Nova  me- 
tamorfose a  6,  lib.  iii.,  col  basso  princi- 
pale  per  1'  organo  (Milan,  IGIO) ;  Madrigali 


fined  and  more  graceful  than  his  master's, 
and  who  even  began  to  introduce  passages 
in  imitative  counterpoint  into  dramatic 
writing.  Indeed,  Cavalli  left  the  opera  in  a 
condition  in  which  it  needed  only  the  genius 
of  Alessandro  Scarlatti  to  distinguish  more 
sharply  between  the  declamatory  and  the 
more  purely  melodic  portions,  and  thus  fi- 
nally establish  the  definite  forms  of  recita- 
tive and  aria.  Cavalli's  style  was  in  general 
very  simple,  and  noted  for  its  truth  and  in- 
tensity of  dramatic  expressiveness.  His 
harmony  is  often  awkward,  at  times  incor- 


287 


CAVALLINI 


rect,  but  this  was  inevitable  at  a  time  when 
the  true  character  of  the  receutly  discovered 
tonal  system  was  not  fully  understood  ;  but 
for  strong  emotional  power  and  veracity  of 
expression,  with  the  simplest  of  means,  he 
has  been  seldom  excelled.  He  was  certainly 
the  greatest  dramatic  composer  of  his  day, 
and  one  of  the  greatest  of  all  time.  He  was 
for  a  short  time  in  the  service  of  the  Elector 
of  Bavaria,  and  twice  visited  Paris,  in  1660 
and  1662.  He  began  to  write  for  the  stage 
in  1637,  and  continued  to  do  so  ujj  to  1669. 
Of  Cavalli's  church  music  a  collection  of 
psalms,  antiphoDS,  and  a  mass  was  pub- 
lished at  Venice,  1656,  and  some  vespers 
for  eight  voices  in  1675.  The  MS.  of  his 
requiem  was  in  the  Sautiui  collection  at 
Rome.  Works — -Oijeras  :  1.  Le  nozze  di 
Tetide  e  di  Peleo,  Venice,  1639  ;  2.  Gl' 
amori  di  Apolline  e  di  Dafne,  ib.,  16-40  ; 
3.  La  Didone,  ib.,  1641  ;  i.  L'  Amore  ina- 
morato, ib.,  1642  ;  5.  La  virtii  de'  strali  d' 
amore,  ib.,  1642  ;  6.  Narcisso  ed  Ecco  ira- 
mortalati,  ib.,  1642  ;  7.  L'  Egisto,  ib.,  1643  ; 
8.  La  Deidaiuia,  ib.,  1644;  9.  L'  Ormindo, 
ib.,  1G44  ;  10.  La  Doriclea,  ib.,  1645  ;  11. 
II  Titone,  ib.,  1645  ;  12.  II  Romolo  ed  il 
Remo,  ib.,  1645  ;  13.  La  prosperita  infe- 
lice  di  Giulio  Cesare  dittatore,  ib.,  1646  ; 
14.  La  Torilda,  ib.,  1648  ;  15.  II  Giasone,  ib., 
1649;  16.  L'  Euripo,  ib.,  1649;  17.  La 
Bradamante,  ib.,  1650  ;  18.  L'  Orimonte,  ib., 
1650  ;  19.  L'  Ori.steo,  ib.,  1651  ;  20.  Ale^- 
sandro  vincitor  di  se  stesso,  ib.,  1651  ;  21. 
L'  Artemidoro,  ib.,  1651  ;  22.  La  Rosinda, 
ib.,  1651 ;  23.  La  Callisto,  ib.,  1651  ;  24.  L' 
Eritrea,  ib.,  1652  ;  25.  Veremonda  1'  Ania- 
zoiie  d'  Aragona,  ib.,  1652  ;  26.  L'  Elena 
rapita  di  Teseo,  ib.,  1653  ;  27.  II  Serse,  ib., 
1654,  Paris,  Nov.  22,  1660  (published  by 
Ballard,  1660)  ;  28.  La  Statira,  principessa 
di  Persia,  Venice,  1655  ;  29.  L'  Erismena, 
ib.,  1655  ;  30.  L'  Artemisia,  ib.,  1656  ;  31. 
Autioco,  ib.,  1658 ;  32.  Elena  rapita  di 
Paride,  ib.,  1659  ;  33.  Coriolauo,  Parma, 
1660  ;  34.  Ercole  amante,  Paris,  1662  ;  35. 
Scipione  Africano,  Venice,  1664  ;  36.  Mu- 
zio  Scevola,  ib.,  1664  ;  37.  II  Giro,  ib.,  1665 


38.  Pompeo  Magno,  ib.,  1666.  Of  these, 
Nos.  1,  3,  5,  9,  10,  15,  18,  19,  22,  23,  24,  26, 
27,  28,  29,  30,  32,  35,  36,  and  37  are  iu  the 
Library  of  Sau  Marco,  Venice  ;  Serse  and 
Artemisia  are  the  composer's  autograi)h. 
— Ambros,  iv.  371. 

GAVALLINI,  ERNESTO,  born  in  Milan, 
Aug.  30,  1807,  died  there,  Jan.  7,  1874. 
Clarinet  player,  jjupil  of  Cavalli  at  the 
Milan  Conservatorio,  solo  clarinet  at  the 
Teatro  Fenice,  and  later  a  member  of  the 
band  of  a  Piedmontese  regiment  ;  visited 
manj-  of  the  principal  cities  of  Europe, 
and  finally  became  professor  at  the  Con- 
servatorio of  Milan,  where  he  had  many 
celebrated  pupils.  Works  :  Concerto  for 
flute  and  orchestra  (Turin) ;  Concerto  for 
clarinet  and  orchestra,  op.  4  (Milan) ;  Chant 
grec  varie,  clarinet,  accompaniment  of  two 
violins,  viola,  violoncello,  and  double-bass  ; 
6  caprices  for  clarinet,  etc. — Fetis  ;  do., 
Supplement,  i.  164. 

CAVALLO,  FORTUNATUS,  born  in  the 
Diocese  of  Augsburg  in  1738,  died  in  Ratis- 
bon,  1801.  Violinist  and  organist  ;  pujjil 
of  Giulini,  Kapellmeister  of  the  Cathedral 
of  Augsburg,  and  later  of  Riepel,  a  comjioser 
of  Ratisbon.  He  became  Kapellmeister  of 
the  Cathedral  of  Ratisbon.  Works  :  Twenty 
masses,  concertos  for  harpsichord,  sym- 
phonies, cantatas,  etc.  ;  but,  with  the  ex- 
ception of  two  masses  and  several  offer- 
tories, all  of  his  works  were  destroyed  at 
the  time  of  the  great  fire  iu  Ratisbon  in 
1809.— Fetis  ;  Mendel. 

CAVALLO,  WENZEL,  born  in  Ratisbon 
in  1781.  Violinist,  son  of  Fortunatus  Ca- 
vallo,  whom  he  succeeded  as  Kapellmeister 
of  the  cathedral  of  Ratisbon  ;  a  pujjil  on  the 
violin  and  in  composition  of  Anton  Joseph 
Liber,  first  violinist  and  composer  to  the 
Prince  of  Thurn  and  Taxis.  He  wrote  three 
masses,  and  some  other  church  music,  all 
of  which  was  destroyed  in  1809  iu  the  con- 
flagration at  Ratisbon. — Fetis;  Mendel. 

CAVENDISH,  MICHAEL,  English  com- 
poser of  the  latter  part  of  the  16th  century ; 
nothing  is  known  of  his  life.     He  was  one 


28S 


CA^^ENE 


of  the  ten  composers  who  harmonizecl  the ' 
times  for  Este's  "Whole  Booke  of  Psahus  " 
(1592) ;  lie  also  published  a  set  of  Ayres  for 
four  Voyces  (1599),  and  contributed  a  mad- 
rigal, Come,  gentle  swains,  to  the  Triumphes 
of^'oriana  (1001).— Fetis  ;  Schilling. 

CAVERNE,  LA,  lyric  drama  iu  three  acts, 
text  by  Derey,  music  by  Lesueur,  repre- 
sented at  the  Theatre  Feydeau,  Paris,  Feb. 
15,  1793.  Subject,  an  episode  in  "Gil 
Bias,"  in  which  Seraphine,  daughter  of 
Count  Alvar  de  Guzman,  is  captured  by 
bandits  and  taken  to  their  cavern,  whence 
she  is  finally  rescued  by  Gil  Bias.  The 
brilliant  success  of  this,  the  composer's  best 
dramatic  work,  procured  him  his  appoint- 
ment as  professor  in  the  Ecole  de  la  Garde 
Nationale,  Nov.  21,  1793.  La  Caverne,  text 
by  Forgeot,  music  by  Mehul,  given  at  the 
Opera  Comique,  Dec.  4,  1795,  treats  of  the 
same  subject. 

CAVI,  GIOVANNI,  maestro  di  cappella 
of  the  Church  of  S.  Giacomo  degl'  Espa- 
"■noli,  Rome,  in  the  second  half  of  the  18th 
century.  He  was  the  author  of  several 
dramatic  works,  whose  titles  are  not  given. 
The  Abbate  Santiui's  collection  has  the  fol- 
lowing church  compositions  by  Cavi  :  The 
psalm  Beatus  vir,  and  a  Laudate  for  four 
parts,  with  orchestra  ;  another  Beatus  vir 
for  three  voices,  with  chorus  and  orchestra  ; 
Two  masses  for  four  voices,  with  instru- 
mental accompaniment. — Fetis  ;  Mendel. 

C.A.VOS,  CATTERINO,  born  in  Venice 
in  1775,  died  iu  St.  Petersburg,  April  28, 
1810.  Dramatic  composer,  pupil  of  Fran- 
cesco Bianchi  ;  when  only  twelve  he  was 
intrusted  with  conducting  the  rehearsals 
at  the  theatre,  and  wrote  a  cantata  for  the 
entry  of  the  Emperor  Leopold  II.  into 
Venice  ;  at  fourteen  he  was  elected  organist 
at  San  Marco,  but  resigned  in  favor  of  a 
poor  co-applicant.  Another  cantata,  to 
celebrate  the  peace  of  Campo  Formio,  ob- 
tained also  a  brilliant  reception,  and  soon 
after  he  went  to  Germany,  and  thence  to 
St.  Petersburg  in  1798,  where,  after  the  suc- 
cess   of   his    first    Russian    opera,  he   was 


appointed  imperial  maestro  di  cappella. 
■\Vorks  :  La  Silfide,  ballet,  given  at  Padua, 
1797.  Russian  operas :  Ivan  Sussanina  : 
The  Ruins  of  Babylon  ;  The  Phcenix  ;  The 
Strength  of  Elijah  ;  The  Livisible  Prince  ; 
The  Three  Hunchbacks  ;  Love's  Post ;  The 
Reign  of  Twelve  Hours  ;  The  Daughter  of 
the  Danube ;  The  Fugitive  ;  The  Cossack 
Poet  ;  The  Unknown  ;  A  New  Embarrass- 
ment. Les  trois  sultanes,  French  opera  ; 
II  convito  degli  spiriti,  Italian  monodrama, 
Munich,  1819  ;  0  ballets,  among  which, 
Flore  et  Zephyr  ;  Vaudevilles,  choruses, 
and  many  Russian  songs.— Fetis  ;  Mendel. 

CAZOT,    FRANCOIS    FELIX,    born   in 
Orleans,  France,  April  G,  1790,  died  in  1858. 
Pianist,  pupil  iu  1804  at  the  Conservatoire  iu 
harmony  of  Catel,  on  the  pianoforte  of  Prad- 
her,  and  in  composition  of  Gossec  and  Fetis. 
He  took  the  1st  prize  in  fugue  and  counter- 
point in  1809,  and  the  1st  prize  for  piano- 
forte in  1811.     He  was  admitted  to  the  In- 
stitut  de  France,  and  took  the  2d  prize  in 
musical   composition ;   shared  with  Hurokl 
the  honours  of  the  1st  prize  iu  1812  for  the 
cantata,  Madame  de  la  Valliure.     He  after- 
wards went  to  Brussels   and  gave   lessons 
until  1821,  when  he  returned  to  Paris,  and 
became   professor  of  the  pianoforte.     He 
published  variations  on  the  air,  Au  clair  de 
la  lune  (Brussels),  and  Methode  elementaire 
de   ijiano   (Paris,    no   date). — Fetis  ;    do., 
Supplement,  i.  1G4. 

CAZZATI,  MAURIZIO,  born  in  Mantua 
about  1C20,  died  there  in  1677.  Organist 
and  maestro  di  cappella  of  the  Collegiate 
Church  of  San  Andrea,  Mantua,  and  sub- 
sequently maestro  of  the  Cathedral  at  Ber- 
gamo, and  of  S.  Petronio,  Bologna,  from 
1657  to  1674.  A  severe  criticism  by  Giulio 
Cesare  Aresti,  organist  of  that  church,  on 
a  Kyrie  written  by  Cazzati,  led  to  a  violent 
quarrel  and  to  Cazzati's  resignation,  and 
was  ultimately  the  cause  of  his  death.  His 
masses,  motets,  cantate  spirituali,  etc.,  were 
published  in  Venice,  Bologna,  Mantua,  and 
some  were  reprinted  in  Antwerp,  from  1G41 
!  to  1668.     He  wrote  also  Correnti  e  Balletti 


CEBALLOS 


a  3  e  5  stromeuti  (Venice,  1C57).  One  of 
Lis  motets,  Sunt  breves  muncli  rosse,  was 
printed  in  Profe's  Geistliclie  Concerten 
(Leipsic,  1G41). — Fetis  ;  Schilling. 

CEBALLOS,  FRANCISCO,  born  in  Cas- 
tile (?),  died  iu  Burgos  in  1571.  He  was 
maestro  de  capilla  of  the  Cathedral  of 
Burgos,  iu  1535.  His  comj)ositions  are  pre- 
served in  the  churches  of  Spain  ;  many  of 
his  motets  are  iu  the  library  of  the  Escorial 
and  the  archives  of  the  Cathedral  of  Toledo. 
The  church  of  Nuestra  Dama  del  Pilar,  Sara- 
gossa,  possesses  a  fine  mass  by  him,  and  in 
Lira  sacro-hispaua,  bj'  M.  Hilarion  Eslava, 
there  is  a  motet,  Inter  vestibulum,  a  work 
of  great  merit. — Fetis,  Supplement,  i.  165  ; 
Mendel,  Ergiinz.,  59. 

CECCARELLI,  EDOARDO,  born  at 
Bevagna  in  the  Pajxil  States,  died  about 
the  middle  of  the  ITtli  century.  He  was 
ajipointed  tenor  in  the  Pontifical  Chapel, 
Jan.  21,  1G28.  He  wrote  many  of  the  Latin 
texts  for  motets,  etc.,  and  devoted  much 
attention  to  the  rules  of  prosody,  and  to 
the  accentuation  and  punctuation  of  the 
sacred  text  in  church  music.  He  was  called 
upon  by  Pope  Urban  VIII.,  together  with 
Sante  Naldiui,  Steffauo  Landi,  and  Gregorio 
Allegri,  to  prepare  an  edition  of  the  hymns 
of  the  Church,  with  all  the  old  Gregorian 
chants,  as  well  as  the  more  modern  music 
by  Palestrina  ;  and  the  great  work  jjrepared 
by  these  four  distinguished  men  was  pub- 
lished at  Autwerj"),  with  the  following  title  : 
Hynmi  sacri  in  breviario  romano  S.  N.  D. 
Urbani  Vin,  etc.  (1G44).— FOtis  ;  Mendel. 

CECCHELLI,  CARLO,  Roman  musician, 
flourished  iu  the  17th  century.  He  is  some- 
times erroneously  called  Domenico  Cecchi- 
elli.  He  succeeded  Boneventi  as  maestro 
di  cajjpeUa  of  S.  M.  Maggiore,  Rome,  1G4G, 
and  resigned  that  position  in  1619.  In  1G51 
he  published  a  book  of  masses,  for  four 
voices,  a  cappella. — Fetis  ;  Mendel. 

CECCHERINI,  FRANCESCO,  born  in 
Florence  in  1792,  died  there,  Jan.  12,  1858. 
Tenor-singer,  pupil  of  the  Abbate  Filippo 
Allegri.     He  was  court  tenoi",  and  maestro 


di  cappella  and  professor  of  singing  at  the 
Academy,  Florence.  Among  his  composi- 
tions are  four  oratorios :  Saiil,  David,  San 
Benedetto,  and  Debora  e  Giale,  all  of  which 
were  produced  in  Florence  ;  A  Requiem, 
and  a  great  deal  of  other  church  music. — Fe- 
tis, SuiDplement,  i.  165  ;  Mendel,  Ergiinz.,  59. 

CECCHINA,  LA.     See  Buona  figliuola. 

CECCHINO,  TOMMASO,  born  in  Vero- 
na, lived  about  1G20.  Composer  of  church 
music,  whose  works  are  found  in  the  cata- 
logue of  the  library  of  the  King  of  Por- 
tugal, as  follows :  Missarum  3  et  4  vocum 
cum  motetta  4  et  5  voc,  lib.  ii.,  op.  17  ;  Ma- 
drigali  a  cinque,  lib.  i.,  op.  15  ;  Missse  3,  4, 
5  et  8  voc,  lib.  iv.,  op.  22.  Among  other 
known  works  are  :  Madrigali  e  canzonette 
a  3  voci  (Venezia,  Giac.  Vincenti,  1617). 
—Fetis  ;  Mendel. 

CECH,  FRANZ  XAVER,  born  at  Horic, 
Bohemia,  Dec.  4,  1759,  died  at  Milevsko, 
ib.,  Aug.  29,  1808.  He  became  contralto, 
in  1772,  at  the  Church  of  the  Barnabites, 
Prague,  where  the  director  of  the  choir, 
Johann  Kutnohorskf ,  Ijecame  interested  in 
him  and  superintended  his  musical  and 
literary  studies,  and  often  confided  the  di- 
rection of  the  church  music  to  him.  In 
1780  he  entered  the  Convent  of  the  Premon- 
strateusians,  Strahow,  was  ordained  priest  iu 
1787,  and  lived  in  the  monastery  until  1801, 
when  he  became  jjastor  of  Bliihlhausen. 
Works  :  Te  Deum  for  chorus  and  orchestra  ; 
Credo,  id. ;  Messe  solennelle  ;  Litanies  ; 
German  dances  for  orchestra,  and  several 
sonatas  for  jjianoforte.  xAll  this  music  is  in 
MS.— Fetis  ;  Mendel. 

CEJKA  (Czeyka),  VALENTIN,  born  in 
Prague  iu  17G9,  died  (?).  He  was  in  the  choir 
of  St.  James's  as  a  child,  and  there  learned 
to  play  on  several  wind  instruments  ;  excel- 
ling on  the  bassoon,  he  was  admitted  to  the 
chapel  of  Count  Pachta  as  solo  player.  He 
went  to  Vienna  in  1802,  and  became  a 
member  of  an  orchestra  in  that  citj',  and 
afterwards  went  to  Naples  and  became  band 
master  to  an  Austrian  regiment.  He  has 
written  seven   concertos  for  bassoon,   and 


290 


CELANI 


military  marches  which  are  still  in  MS. 
— Fctis  ;  Mendel  ;  Schilling. 

CELANI,  GIUSEPPE  CORSO,  lived  in 
the  second  half  of  the  18th  centiu-y,  succes- 
sively in  Rome,  Parma,  and  Ancona,  and 
composed  an  oratorio,  Ismaele  ed  Agar, 
which  was  performed  iu  Rome.  Other 
works  :  Santa  Teodora,  oratorio  (1G88). 

CELESTE  AiDA.     See  Aida. 

CELESTmO,  ELIGIO,  born  in  Rome  in 
1739,  died  at  Liidwigslust,  Mecklenburg, 
Jan.  14,  1812.  Violinist,  considered  one  of 
the  best  of  his  time.  After  travelling  much, 
from  177G,  he  settled  in  1781  at  Ludwigs- 
lust  as  leader  of  the  ducal  baud.  Six  of  his 
sonatas  for  violin  and  bass  are  iu  Preston's 
Catalogue  (1797),  and  three  duos  for  violin 
and  violoncello  (Loudon,  1798). — FtJtis ; 
Mendel. 

CELLARIER,  HILARION,  born  at  Flo- 
rensac  (Hurault),  March  12, 1818,  still  living, 
1888.  Dramatic  composer,  pupil  of  Pacini 
at  the  Conservatorio  of  Viareggio,  near 
Lucca.  When  about  twenty,  he  replaced 
his  master,  who  had  fallen  sick,  in  comjDos- 
ing  a  mass,  which  was  performed  with  suc- 
cess iu  the  Cathedral  of  Lucca.  Recalled 
by  family  affairs  he  returned  suddenly  to 
France  about  1842,  and  settled  at  Montpel- 
lier.  Works  :  Don  Japhet,  opera  ;  La  sec- 
chia  rapita,  do.  (183G)  ;  I  Guelfi,  do.  (1842) ; 
Mass  with  grand  orchestra  (184.5),  and  other 
church  music  ;  Symphonies,  quartets,  j)ia- 
noforte-pieces,  etc. — Fetis,  Supplement,  i. 
lti.5. 

CELLI,  FILIPPO,  boru  in  Rome  in  1782, 
died  iu  London,  Aug.  21,  1856.  Of  noble 
birth,  he  devoted  himself  to  the  study  of 
music,  and  was  the  composer  of  many  suc- 
cessful operas  :  Amalia  e  Palmer  ;  Dritto  e 
Rovescio,  opera  bufta,  produced  at  the  Te- 
atro  Ro,  Milan,  1815  ;  Amore  aguzza  F  in- 
gegno,  ossia  Don  Timonella  di  Piacenza, 
ib.,  1815  ;  Emma  (Bologna,  1822)  ;  II  cor- 
saro,  Rome,  1823 ;  II  poeta  al  cimento, 
written  for  the  fair  at  Rimini ;  Le  due  du- 
chesse,  Florence,  182G  ;  Ezio  (1830) ;  Me- 
dea (Rome,  1838) ;  Kicciarda  (Naples,  1839) ; 


La  secchia  rapita  ;  L'  ajo  ncll'  imbarazzo ; 
Sujjerbia  e  Vanita ;  L'  amore  muto.  He 
was  professor  of  singing  at  the  Conserva- 
torio of  Madi'id  in  1834-38  ;  he  afterwards 
lived  at  Bologna  and  at  Milan,  and  finally 
went  to  Loudon  as  a  teacher.  Ricordi  pub- 
lished a  collection  of  five  of  his  ariettas, 
four  duets,  and  two  trios,  to  words  by  Pe- 
polli,  under  the  title  of  Serenate  Romane 
(Milan).— Fc-tis ;  IMendel. 

CELLIER,  ALFRED,  born  in  Loudon, 
contemporary.  D  r  a  - 
matic  composer.  Some 
of  his  songs  and  part- 
songs  are  very  popular. 
Works  :  Sultan  of  Mo- 
cha, operetta,  London, 
1876;  The  Spectre 
Knight,  do.;  After  All, 
vaudeville,  ib.,  1878  ;  In 
the  Sulks,  oj)eretta,  ib., 
1880  ;  The  Masque  of 
Pandora,  text  by  Longfellow,  Boston  The- 
atre, Boston,  Mass.,  Jan.  10,  1881  ;  Gray's 
Elegy,  Leeds  Festival,  1883  ;  Dorothy,  oper- 
etta, London,  1886,  Boston,  Mass.,  Jan.  30, 
1888  ;  Part-songs,  songs,  etc. — Futis,  Sup- 
plement, i.  16G. 

CELLINI,  opera.    See  Benvenulo  Cellini. 

CELLINI,  FRANCESCO,  born  at  Fermo, 
Italy,  May  5, 1813,  died  there,  Aug.  19, 1873. 
Singing  teacher,  pupil  of  his  uncle,  Agos- 
tino  Cellini,  and  of  Rafael  Mouelli  and  Carlo 
Morra.  He  then  took  lessons  of  Pilotti  at 
Bologna,  and  on  his  mastei''s  death  went  to 
the  Conservatorio,  Naj)les,  where  he  studied 
singing  under  Crescentini  and  composition 
under  Zingarelli  and  Mercadante.  On  his 
retui'u  to  Fermo,  iu  1842,  he  was  made  ma- 
estro di  cappella  of  the  cathedral.  In  1860 
he  visited  London,  with  his  pupil  Antonio 
Giuglini,  and  remained  there  some  time. 
Among  his  scholars  were  Francesco  and 
Ludovico  Graziani,  Henri  Fagotto,  Mme 
Morgiali,  Mme  Biancolini,  Rodriguez,  and 
many  of  the  best  operatic  singers  of  his 
day.  His  works  consist  of  patriotic  cho- 
ruses used   on   several    commemorations ; 


CELLOT 


and  of  considerable  churcli  music,  of  which 
there  is  no  special  list. — Fi'tis,  Siipph''- 
ment,  i.  IGG. 

CELLOT,  HENEI,  born  in  France  about 
1835,  still  living,  1888.  He  has  written  a 
few  romances,  and  has  brought  out  several 
oj)erettas,  among  which  are  :  Dix  contre  un, 
Palais  Koyal,  18C5  ;  L'lle  des  singes,  Eldo- 
rado, 1868  ;  L'amour  charlatan,  at  the  Folies 
Marignj. — Fi'tis,  Supplement,  i.  166. 

CENDRILLON,  opera-comique  in  one 
act,  text  by  Anseaume,  music  by  Laruette, 
rei^resented  at  the  Opera  Comique,  Paris, 
Feb.  21,  1759.  Subject,  the  story  of  Cinder- 
ella, from  the  tale  by  Perrault.  The  same 
subject  is  treated  in  an  opera  in  three  acts, 
music  by  Steibelt,  given  in  St.  Petersburg, 
1809  ;  and  in  the  opera-comique  in  three ' 
acts,  text  by  Etienne,  music  by  Nicolo  Isou- 
ard,  represented  at  the  Theatre  Feydeau, 
Paris,  Feb.  22,  1810.  It  was  reproduced 
at  the  Opera  Comique  in  1815,  with  some 
changes  by  Adam,  but  with  little  success  ; 
and  again,  Jan.  23,  1877,  with  a  divertisse- 
ment called  Les  Saisons,  introduced  in  the 
second  act,  the  themes  of  which  were  selected 
by  Theodore  de  Lajarte  from  the  works  of 
LuUi,  Destouches,  and  other  old  composers. 

CENERENTOLA,  LA,  Italian  opera,  text 
by  Ferretti,  music  by  Rossini,  first  rep- 
resented at  the  Teatro  Valle,  Rome,  during 
the  carnival,  Dec.  26,  1817  ;  at  the  Iiing's 
Theatre,  London,  Jan.  8,  1820  ;  at  the 
Theatre  des  Italiens,  Paris,  June  8,  1822 ; 
and  in  New  York,  June  27,  1826.  Sub- 
ject, an  adaptation  from  Etienne's  Cendril- 
lon,  the  story  of  Cinderella.  It  is  a  charm- 
ing work,  with  a  light  and  graceful  over- 
ture. Among  its  favourite  numbers  are  : 
the  air,  "Miei  rampolli,"  originally  writ- 
ten for  La  Pietra  del  Paragone  and  used 
second  in  La  Gazzetta  ;  the  duet,  "  Uu  soave 
non  so  che  "  ;  the  duet,  "Zitto,  Zitto,"  taken 
from  II  Turco  in  Italia  ;  the  bass  duet,  "  Un 
segi'eto  d'importanza " ;  and  the  contralto 
aria  "Non  piii  mesta."  The  principal  part 
in  Cenerentola,  though  generally  sung  by  a 
soprano,  was  written  for  a  contralto,  and 


was  a  favourite  role  of  Marietta  Alboni, 
who  always  excited  the  greatest  enthusiasm 
by  her  singing  of  Non  piu  mesta.  The 
same  subject  is  treated  in  La  Cenerentola, 


Marietta  Alboni. 

music  by  Manuel  del-Popolo-Vicente  Garcia, 
given  at  the  Park  Theatre,  New  York,  July 
13,  1827.— Hanslick,  Moderne  Oper,  110  : 
Stendhal,  Rossini,  184. 

CENTENNIAL  HYMN,  words  by  John 
Greenleaf  Whittier,  music  by  John  Knowles 
Paine,  oja.  27,  composed  in  1876.  Sung  at 
the  opening  of  the  Centennial  Exhibition, 
Philadelphia,  May  10,  1876. 

CENTENNIAL  INIARCH.  See  Grosser 
Feshnarsch.     Wagner. 

CENTENNIAL  ]MEDITATION  OF  CO- 
LU^MBIA,  cantata,  words  by  Sydney  Lanier, 
music  by  Dudley  Buck,  sung  at  the  open- 
ing of  the  National  Centennial  Exhibition, 
Philadelphia,  May  10,  1876.  The  text  con- 
sists of  sixty-one  lines,  in  eight  stanzas  of 
unequal  length.  The  autograph  of  the  can- 
tata is  owned  by  the  Connecticut  Historical 
Society,  Hartford. — Upton,  Standard  Can- 
tatas, 106  ;  Atlantic  Monthly,  xxxviii.  122. 


CENTO 


CENTO,  Padre  GIOVANNI  ANTONIO, 

ttouiished  in  the  17th  century.  He  was  a 
Franciscan  monk,  njaestro  di  cappella  at 
Padua,  and  afterwards,  1(560,  at  S.  Prau- 
cesco,  Bologna.  He  left  a  great  deal  of 
cliurch  music  in  M8.— Fctis  ;  Mendel. 

CENTOLANI,  A:\IBilOGIO,  Italian  com- 
poser, contemporarj'.  He  is  author  of  the 
opera,  Isabella  Orsini,  produced  at  the 
Lugo  Theatre,  Sept.  17,  1867.— Futis,  Sup- 
plement, i.  1G6. 

CENTORIO,  MARC  ANTONIO,  born  at 
Vercelli,  end  of  the  16th  century.  Studied 
music  at  the  Collegio  degT  Innocenti,  and 
counterpoint  at  Milan.  After  being  or- 
dained a  priest  he  returned  to  his  native 
town,  and  became  canon  and  maestro  di 
cappella  of  S.  M.  Maggiore.  He  wrote  many 
masses,  vespers,  and  motets,  which  are  pre- 
served among  the  archives  of  his  chapter. 
In  1637  the  court  of  Savoy  made  a  long 
stay  at  Vercelli,  and  Centorio  was  made 
director  of  the  royal  concerts,  and  pro- 
duced several  of  his  symphonies. — Fetis  ; 
Mendel. 

CENT  VIERGES,  LES  (The  Hundred 
Virgins),  opt'ra-bouti'e  in  three  acts,  text 
by  Chivot,  Duru,  and  Clairville,  music  by 
Charles  Lecocq,  first  represented  at  the 
Theatre  de  la  Monnaie,  Brussels,  March 
16,  1872.  The  libretto  details  the  story 
of  a  hundred  Englishmen,  settled  in  an 
island  called  Isle-Verte,  who,  in  want  of 
wives,  make  a  demand  on  the  admiralty 
for  a  cargo  of  virgins.  The  opera  was  given 
in  Paris,  at  the  Varicti's,  May  13,  1872,  and 
met  with  much  success. 

CEPHALUS  AND  PROCRIS.  The  le- 
gend of  Procris  or  Procne,  beloved  by  Eos, 
and  the  recipient  from  Diana  of  the  never- 
erring  spear,  with  which  she  is  at  last  ac- 
cidentally slain  by  her  husband  Cephalus, 
as  related  by  Hyginus,  Apollodorus,  and 
Ovid,  is  the  subject  of  several  operas.  Ce- 
phale  et  Procris,  lyric  tragedy  in  five  acts, 
text  by  Ducho,  music  by  Mile  de  la  Guerre, 
represented  in  Paris,  March  15,  1694  ;  lyric 
tragedy  in  three  acts,  text  by  Marmontel, 


music  by  Gretry,  given  at  Versailles,  1773, 
and  at  the  Academie  Royale  de  Musique, 
Paris,  May  2,  1775  ;  operetta,  music  by  Eu- 
gene Moniot,  Paris,  1868.  Cephalus  und 
Procris,  German  opera,  music  by  Bronner, 
Hamburg,  1701 ;  melodrama,  music  by  Ker- 
pen,  Mainz,  1792.  Cephalus  and  Procris, 
English  opera,  music  by  Henry  Carey,  Lon- 
don, 1733.  Cephale,  opera-ballet,  music  by 
Batistin  Struck,  Versailles,  1710.  Russian 
opera,  music  by  Ai-aja,  St.  Petersburg,  1755, 
the  first  Russian  opera. 

CE  QUON  ENTEND  SUR  LA  MON- 
TAGNE,  symphonic  poem,  music  by  Liszt, 
composed  at  Weimai-,  1 856.  It  was  inspired 
by  the  poem  of  the  same  title  by  Victor 
Hugo,  which  the  poet  read  from  his  manu- 
script to  a  circle  of  literary  and  artistic 
friends.  The  impression  it  made  upon 
Liszt  lasted  for  years,  until  he  freed  him- 
self from  it  by  this  composition,  which 
became  the  germ  of  his  series  of  symphonic 
poems.  Published  by  Breitkopf  &  Hiirtel 
(Leipsic),  F.  Liszt,  Symphonische  Dichtun- 
gen.  No.  1. — Ramann,  293. 

CERACCHINI,  FRANCESCO,  born  at 
Asiua  Lunga,  Tuscany,  in  1748,  died  (?). 
Maestro  di  cappella  of  the  Cathedral  of  Si- 
ena in  1736.  He  wrote  much  church  nuisic, 
and  was  a  celebrated  teacher  of  counter- 
point.— Fetis  ;  Mendel. 

CERCIA,  DOMENICO,  born  at  Naples, 
flourished  about  the  end  of  the  18th  cen- 
tury. Dramatic  composer,  pupil  of  Fena- 
roli.  Works— Operas:  Scipione  in  Carta- 
gine,  given  at  Naples  about  1790  ;  II  servo 
trappoliere,  ib.,  about  1795  ;  L'  equivoco 
curioso,  opera  buSa,  ib.,  about  the  end  of 
the  18th  century;  Le  false  magie  per 
amore,  do.,  ib.,  do.;  La  marinaressa  di 
spirito,  ib.,  do.;  I  vecchi  delusi,  ib.,  about 
1796;  Gli  amanti  in  angustie,  ib.,  do.;  Ilo 
Robbe  vecchie,  in  Neapolitan  dialect,  ib.;  Lo 
matrimonio  utruppecuso,  do.,  ib.;  La  Pas- 
sione  del  Signore,  oratorio  ;  La  disfatta  de' 
mori  in  Valenza,  cantata  ;  La  fuga  ed  il 
trioufo  di  Davidde,  do.  ;  3  cantatas  for 
Christmas  ;  Te  Deum  ;  14  solemn  masses  ; 


393 


CEIIECEDA 


2  requiem  masses  ;  Pastoral  mass  ;  4  mo- 
tets, etc. — Fetis. 

CERECEDA,  GUILLER:\I0,  Spanish 
dramatic  composer,  koowu  by  bis  zarzuelas 
or  comic  oiieras,  produced  at  Madrid,  as 
follows  :  Pascal  Bailou  ;  Tocar  el  violon  ; 
Pepe-Hillo  ;  Trayo  ;  Mefistofeles  ;  Esperan- 
za,  lyric  and  dramatic  ballad,  played  at  the  , 
Zarzuela  Theatre,  1872,  where  he  was  leader 
of  the  orchestra. — Fc'tis,  Sujipk'ment,  i.  167. 

CEREROLS,  Padre  JUAN,  Spanish  monk, 
living  at  the  Abbey  of  Montserrat  in  the 
last  years  of  the  18th  century.  His  works, 
Ijreserved  in  the  archives  of  that  college, 
are  mostly  for  ten  voices.  Works  :  IMisa 
de  batalla,  a  mass  for  three  choruses  and 
twelve  voices  ;  the  psalms,  Dixit  Dominus, 
Confitebor,  Beatus  vir,  Laudate  iiueri  Domi- 
num,  La;tatus  sum.  Nisi  Dominus,  Credidi ; 
the  hymn,  Ave  Maris  Stella,  and  the  can- 
ticle. Magnificat. — Fetis,  Supplement,  i.  167  ; 
Mendel,  Ergilnz.,  60. 

CERESINI,  GIOVANNI,  born  at  Cesena 
about  the  end  of  the  16th  century.  Church 
comjjoser,  author  of  the  following  works  : 
Primo  libro  de'  Motetti  a  1,  2,  3,  4,  5  e  6 
voci  (1617) ;  Missa  e  Salmi  a  5  voci,  op.  3 
(Venice,  1618) ;  a  second  edition  was  pub- 
lished at  Venice  (1623) ;  Motetti  e  Litanie 
de  B.  V.  a  2,  3  e  4  voci  (Venice,  1638). 
— Fetis  ;  Mendel. 

6eR]M.\K,  ANTON,  born  in  Bohemia  in 
1750,  died  in  Prague,  August,  1803.  Or- 
ganist, pujjil  of  Seger  in  comijosition  and  on 
the  organ.  He  was  organist  of  the  churches 
of  St.  Heinrich,  and  Maria-Schnee,  and 
subsequently  of  the  Kreuzherren-Kirche. 
He  composed  concertos  for  the  organ,  which 
he  himself  jilayed  with  rare  ability. — Fetis; 
JNIendel. 

CERMAK  (Csermak),  Edler  von  Luid 
und  Rohans,  born  in  Bohemia  in  1771,  died 
at  Veszprim,  Hungary,  Oct.  25,  1822.  Vir- 
tuoso on  the  violin  and  national  composer, 
appeared  first  in  Vienna  in  1798,  and  took 
his  audience  by  storm.  Refusing  a  brilliant 
offer  of  the  French  ambassador  to  go  to 
France,  he  went  to  Hungarv,  and  was  for  a 


short  time  Kapellmeister  at  Presburg.  He 
then  proceeded  to  Pesth,  where,  inspired  by 
the  playing  of  the  gypsy  Bihari,  he  devoted 
himself  exclusively  to  Hungarian  music,  and 
under  the  guidance  of  Lavotta  became  with- 
in a  few  years  a  composer  and  interpreter  of 
national  melodies  who,  according  to  Count 
Stephen  Fay,  the  greatest  connoisseur  of 
Hungarian  music  and  its  history,  had  no 
equal.  A  hopeless  love  for  a  high-born 
lady  impaired  his  mind,  and,  becoming  mel- 
ancholy and  finally  insane,  he  wandered 
through  the  country  from  place  to  place, 
writing  his  finest  comijositious,  now  in  a 
tavern  on  the  Puszta,  now  in  the  drawing- 
room  of  a  magnate.  The  Hungarians  call 
him  their  Beethoven.  ^ — Mendel  ;  Wurzbach. 

CERNOHORSKT,  BOHUSLAV,  born  in 
Nimburg,  Bohemia,  second  half  of  the  17th 
century,  died  in  Italy  in  1740.  Organist, 
monk  of  the  Order  of  Minorites.  He  was 
director  of  the  choir  in  St.  Ann's,  Padua, 
and  had  some  illustrious  pupils,  among 
them  Tartini.  On  his  return  to  Bohemia 
he  was  Kapellmeister  at  the  Teinkirche, 
Prague,  and  afterwards  of  St.  James's. 
Among  his  pupils  in  Prague  were  Joseph 
Seger,  Czeslaus,  Klaekel,  Franz  Tuma,  and 
Christoph  Willibald  Gluck.  He  left  in  MS. 
much  church  music,  which  was  nearly  all 
consumed  in  the  great  fire  in  the  convent 
of  his  order  in  1754.  The  organist  Kii- 
charz  j)Ossessed  in  1808  the  motet,  Laude- 
tur  Jesus  Christus,  for  four  voices  and  or- 
chestra.— Fetis  ;  Mendel. 

6ERNY,  DOmNIK,  born  in  Nimburg, 
Bohemia,  Oct.  30,  1736,  died  in  Prague, 
March  2,  1766.  He  was  a  singer  when 
quite  young,  in  St.  Egidius's,  Prague,  and 
afterwards  studied  at  the  university,  and 
entered  the  Order  of  the  Minorites.  In 
1760  he  became  director  of  the  choir  of 
the  Church  of  St.  James,  Prague.  His 
compositions  are  much  esteemed  in  Ger- 
many and  are  sung  in  all  the  Bohemian 
churches. — Fetis,  ii.  408  ;  Mendel,  iii.  48. 

CERTON,  PIERRE,  flourished  in  the 
16th  century.     One  of  the  foremost  French 


CERVETTI 


contrapuntists  of  the  first  Imlf  of  liis  cen- 
tury ;  choirmaster  of  the  Saiute  Chapelle  du 
Louvre.  Of  his  works,  masses,  magnificats, 
motets,  psalms,  and  many  chansons  were 
published  in  Paris,  1533-59.— Fetis  ;  Men- 
del. 

CEKVETTI.     See  Geelmck. 

CESARE.     See  GiuUo  Cesare. 

CESAKE  IN  EGITTO,  Italian  opera,  mu- 
sic by  Pacini,  represented  in  Rome,  1822. 
The  subject  had  been  previously  treated  by 
Giacomelli,  Turin,  1735  ;  and  by  Ercole  Pa- 
ganini  about  1790.  Cesare  e  Tolomeo  in 
Egitto,  music  by  Novi,  represented  in  Italy 
about  1707.  Cesare  in  Alessandria,  music 
by  Aldovrandiui,  Naples,  1700. 

CESAKINI,  CARLO  FRANCESCO 
(called  del  Violino),  born  in  Rome  in  1G64. 
Violinist,  musician  at  the  Church  of  la  Pi- 
eta,  Rome,  in  1700,  and  later  maestro  di 
cappella  of  the  Gesti.  His  works,  all  of 
which  are  in  MS.,  are  as  follows :  II  fi- 
gliuol  2'rodigo,  oratorio  ;  Tobia,  oratorio  in 
two  parts ;  II  trionfo  della  divina  j^rovi- 
denza  ne'  successi  di  Sta.  Geneviefa,  ora- 
torio ;  Credidi  for  eight  voices ;  A  mass 
for  eight  parts. — Fetis  ;  Mendel. 

CESENA,  GIOVANNI  BATTISTA,  born 
in  the  second  half  of  the  16th  century. 
Franciscan  monk  in  a  monastery  in  the 
Papal  States.  Works :  Messe  e  motetti  a 
quattro  voci,  lib.  i.  (Venice,  1G05)  ;  Com- 
pieta  con  litanie  e  motetti  a  otto  voci  (ib., 
1606) ;  Salmi  a  quattro  voci,  etc.  (ib.,  1600) ; 
Secondo  lihro  de'  concerti,  etc.  (ib.,  1606)  ; 
Salmi  intieri  a  cinque  voci  per  i  Vespri, 
etc.  (ib.,  1607)  ;  Messe,  litanie,  e  motetti  a 
cinque  voci  (ib.,  1608)  ;  Salmi  per  Vespri  a 
quattro  voci  pari,  op.  11  (ib.,  1609)  ;  Mo- 
tetti a  quattro  voci  (ib.,  1610)  ;  Due  Com- 
plete a  quattro  voci,  etc.,  op.  15  (ib.,  1612) ; 
II  quinto  libro  de'  concerti  e  motetti  (ib., 
162 1).— Fetis  ;  Mendel. 

CESI,  PIETRO,  born  in  Rome,  flourished 
in  the  second  half  of  the  17tli  century.  He 
was  an  ecclesiastic  and  maestro  di  cap- 
pella in  Rome.  Works  :  Messe  a  (juattro, 
con  altre  sacre  canzoni  a  una,  due,  tre  e 


cinque  voci,  lib.  ii.,  op.  3  (Rome,  1660),  iu 
the  National  Library,  Paris ;  Motetti  a  1,  2, 
3  voci  con  una  Messa  e  Salve  a  5  voci, 
lib.  i.,  op.  2  (Rome,  1656) ;  etc. — Fetis  ; 
Mendel. 

CESSARO  I  SUONI.     See  Ernani. 

CESTI,  MARC  ANTONIO,  born  at 
Arezzo  (or  Florence  ?)  about  1620,  died  in 
Venice  iu  1669.  Dramatic  composer,  pupil 
of  Carissimi.  He  was  maestro  di  cappella  in 
Florence  in  164:6,  became  tenor  singer  of 
the  papal  choir  of  Alexander  VII.,  Jan.  1, 
1660,  and  was  maestro  di  cappella  to  the 
Emperor  Leopold  I.  in  1661-67.  Although 
an  ecclesiastic,  he  did  much  for  the  prog- 
I'ess  of  the  music  drama  iu  Italy.  He  is 
best  known  by  his  cantatas,  of  which  he 
wrote  many,  preserved  in  the  Music  School 
at  Oxford,  the  British  Museum,  and  con- 
tinental libraries.  Works — Operas  :  Orou- 
tea,  given  at  Venice,  Teatro  de'  SS.  Apos- 
toli,  1649  ;  Cesare  amante,  Venice,  1651  ; 
Dori,  ossia  Lo  schiavo  regio,  ib.,  1663  ;  II 
23rincipe  generoso,  1665  ;  Tito,  Venice,  1666  ; 
Nettuno  e  Flora  festeggianti,  Vienna,  1666  ; 
Semiramide,  Le  disgrazie  d'auiore,  ib.,  1667  ; 
La  schiava  fortunata  (with  Ziani)  Vienna, 
1667,  Venice,  1674  ;  Argeue,  Venice,  1668  ; 
Genserico,  Ai-gia,  ib.,  1669  ;  11  pomo  d'  oro 
(iu  the  Imperial  Library,  Vienna),  produced 
at  the  court  of  Leopold  I.  about  1669. 
Some  of  his  canzonets  were  ijublished  by 
Pianauo  in  a  collection,  Seelta  di  Canzonet- 
te  de'  piti  rinomati  autori  (London,  1665) ; 
and  there  is  a  solitary  sacred  motet,  Non 
plus  me  ligate,  in  the  National  Library, 
Paris.  Arie  da  Camera  and  the  libretto  of 
La  Dori  are  in  the  Abbate  Santini's  collec- 
tion.— Fetis  ;  Mendel  ;  Riemaun  ;  Schilling. 

CEST  LA  CLOCHE  DE  LA  TOU- 
RELLE.     Sec  Dame  blanche. 

CEUPPENS,  VICTOR,  born  in  Brussels, 
July  28,  1835,  still  living,  1888.  Organist, 
pupil  of  Goossens,  Jourdan,  Bosselet,  Lem- 
mens,  and  Fetis.  He  has  been  organist  suc- 
cessively of  the  churches  of  St.  Joseph,  the 
Miuimes,  and  St.  Catherine,  and  maitre  de 
chapelle  of  St.  Boniface,  as  well  as  profes- 


CEVENIXI 


sor  at  the  music  school  of  Saint-Josse-teu- 
Noode,  io  the  envirous  of  Brussels.  Among 
bis  comjjositions  are:  Several  Masses,  one 
of  which,  for  four  voices,  was  given,  Jan. 
14,  18()1 ;  Ave  Verum,  for  four  voices  ;  Sal- 
ve Kegiua,  with  orchestral  accompaniment ; 
Laudate  Domiuum,  chorus  for  i  voices  ; 
Tautum  ergo ;  Pie  Jesu ;  O  Salutaris,  and 
a  prayer  and  three  Elevations  for  the  or- 
gan. He  has  also  written  several  romances. 
— Fetis,  Supplement,  i.  108. 

CEVENINI,  CAMILLO,  born  in  Rome 
about  the  beginning  of  the  17th  century ; 
called  r  Operoso  by  the  Filomusi  Academi- 
cians. AYorks  :  Coucerti  notturui  espressi 
in  musica  (Bologna,  1C3G)  ;  Epitalamiche 
serenate  nelle  nozze  d'Anuibale  IMarescotti, 
e  di  Barbara  Eangoni,  applausi  musicali 
(Bologna,  1G38).— Fotis  ;  Mendel. 

CH.iBANON  DE  MAUGRIS,  born  in  the 
Island  of  Santo  Domingo  in  173G,  died  in 
Paris,  Nov.  17,  1780.  Dramatic  composer, 
brother  of  Itlichel  Paul  Chabanon.  He 
served  in  the  navy  in  his  youth  and  de- 
voted most  of  his  life  to  literature  and  art. 
Works  :  Alexis  et  Daphne',  pastoral  opera  ; 
Philemon  et  Baucis,  heroic  ballet ;  Fugi- 
tive pieces  for  the  harpsichord,  and  the 
harp,  with  violin  accompaniment. — Fetis  ; 
Mendel. 

CHABANON,  mCHEL  PAUL  GUIDE, 
born  in  the  Island  of  Santo  Domingo  in 
1730,  died  in  Paris,  July  10,  1792.  Violin- 
ist, and  didactic  writer.  Destined  for  the 
church  by  the  Jesuits  who  educated  him, 
he  became  an  atheist,  and  gave  himself  up 
to  the  study  of  music.  He  became  an  ac- 
complished violinist  after  eight  years'  study, 
and  was  second  violin  at  the  amateur  con- 
certs given  by  Saint-Georges.  He  was 
made  a  member  of  L' Academic  des  In.scrip- 
tions  in  17G0,  and  of  L'Acadumie  Franjaise 
in  1780.  He  wrote  the  words  and  music 
of  an  opera,  Semele,  which  was  received  by 
the  Acadt'mie  Roj-ale  de  Musique,  but  not 
performed.  Among  the  best  of  his  works 
are  tlu'ee  Memoires  on  the  problems  of 
Aristotle  concerning  music,    published   by 


the  Academic  Eoyale  des  Inscriptions. — Fe- 
tis ;  Burney,  iv.  G"21  ;  Schilling. 

CHABRAN,  FRANCESCO,  born  in  Pied- 
mont in  1723,  died  (?).  Violinist  and  com- 
poser, pupil  and  nephew  of  the  celebrated 
violinist  Somis.  Musician  to  the  King  of 
Sardinia  in  1747,  he  went  in  1751  to  Paris, 
where  his  talent  was  enthusiasticallj'  recog- 
nized. He  possessed  a  wonderfully  light 
and  bi'illiant  touch,  and  excelled  in  preci- 
sion and  finish.  Published  works  :  Three 
works  of  sonatas,  one  of  concertos  for  vio- 
lin, besides  other  compositions. — Fetis. 

CHACONNE  in  D  minor,  in  J.  S.  Bach's 
second  partita  for  violin  solo  ;  one  of  the 
most  stupendous  compositions  in  existence 
in  the  form  of  variations.  Both  Mendels- 
sohn and  Schumann  wrote  pianoforte  ac- 
companiments to  it,  and  Rati'  arranged  it 
for  full  orchestra. 

CHACUN  LE  SAIT,  CHACUN  LE  DIT. 
See  Fille  du  Regiment. 

CHADWICK,   GEORGE  WHITFIELD, 
born,  of  American 
J^^^'^SjHJ^))       parentage,  in  Lowell, 
f  Wm      Mass.,  Nov.  13,  1854, 

still  living,  1888.  His 
first  musical  instruc- 
tion was  received  from 
Eugene  Thayer,  Bos- 
ton. In  187G  he 
went  to  Olivet,  Mich- 
igan, to  teach  in  the 
musical  department 
of  the  college  there  ;  in  1877  he  went  to 
Europe,  and  studied  two  years  in  Leipsic 
under  Jadassohn  and  Reinecke  ;  after  travel- 
ling in  Germany,  he  studied  composition 
and  organ  playing  in  Munich  under  Rhein- 
berger  for  about  a  year.  In  1880  he  re- 
turned to  America  and  settled  in  Boston, 
where  he  resides  as  a  teacher  and  con- 
ductor, as  organist  of  the  South  Congrega- 
tional Church,  and  as  instructor  in  harmony 
and  composition  in  the  New  England  Con- 
servatory of  Music.  He  revisited  Europe 
in  1883,"  188G,  and  1888.  Works— Choral : 
The  Viking's  Last  Voyage,  for  baritone  solo, 


CHAINE 


male  chorus  aud  orchestra,  Boston,  1881  ; 
Dedication  Ode,  for  soU,  chorus  and  orches- 
tra, ib.,  1884.  For  orchestra :  Overture  to 
Rip  Van  Winkle,  Leipsic,  1879  ;  Symphony 
No.  1,  in  C,  Boston,  1882  ;  Thalia,  overture 
to  an  imaginary  comedy,  ib  ,  1883  ;  Andante 
for  string  orchestra,  ib.,  1881  ;  Symphony 
No.  2,  in  B-Hat,  ib.,  Dec.  11,  1885  ;  Mel- 
pomene, overture  to  an  imaginary  tragedy, 
ib.,  1887  ;  The  Millers  daughter,  concert 
overture,  San  Francisco,  1888.  Chamber 
music  :  Trio  in  C  minor,  Leipsic,  1877  ; 
String  quartet  in  G  minor,  ib.,  1878  ;  do.  in 
C  major,  ib.,  1879  ;  do.  in  D,  Boston,  Jan., 
1888;  Quintet  for  pianoforte  and  strings, 
in  E-flat,  ib.,  Jan.,  1888.  Songs  aud  other 
vocal  music. 

CHAINE,  EUGENE,  born  at  Charleville 
(Ardennes),  Dec.  1,  1819,  still  living,  1888. 
Violinist,  pupil  at  the  Paris  Conservatoire 
and  of  Clavel  and  Habeneck.  He  took  a 
second  prize  for  violin  in  1839,  and  the  first 
in  1810.  For  his  compositions  he  was 
awarded  prizes  in  Holland,  18C4,  at  Bor- 
deaux, 18G6  and  1872,  and  in  Florence. 
Professor  at  the  Conservatoire,  Paris,  since 
1875.  Works  :  Grand  concerto  for  violin 
and  orchestra  or  pianoforte  ;  Second  con- 
certo, idem  ;  fik'gie  for  violin  and  piano- 
forte ;  L'Insomnie,  romance  for  do.  ;  La 
Eomanesca,  caprice  for  do.  ;  Tarentelle  for 
do.  ;  Souvenirs  de  Beethoven,  fantaisie  for 
violin  with  orchestra  or  pianoforte  ;  ISIass 
for  4  voices,  chorus,  and  orchestra,  per- 
formed at  Poitiers,  18r)0  ;  First  symphony 
(18G4)  ;  Second  do.  (ISGG) ;  Overture  for 
grand  orchestra ;  Stabat  Mater  (1872)  ; 
Third  concerto  for  violin  ;  About  forty  fan- 
taisie-caprices  and  morceaux  de  genre  for 
violin  with  pianoforte. — Fetis  ;  do..  Sup- 
plement, i.  IGS  ;  Mendel ;  do.,  Ergiiuz.,  61. 
CHAISES  A  PORTEURS,  LES  (The 
Sodan-Chairs),  opera-comique  in  one  act, 
text  by  Dumanoir  and  Clairville,  music  by 
Victor  Masse,  represented  at  the  Opera 
Comi(iue,  Paris,  April  28,  1858.  An  anuis- 
ing  imbroglio  between  a  tinancier,  his  wife, 
a  danseuse,  aud  two  gentlemen,  in  which 


the  action  is  largely  carried  on  in  sedan- 
chairs. 

CHALET,  LE,  opi'ra-comique  in  one  act, 
text  by  Scribe  and  Melesville,  music  by 
Adolphe  Adam,  first  represented  in  Paris, 
Sept.  25,  1834.  Subject  from  Goethe's  Jery 
und  Biltely,  originally  written  for  Kaiser. 
The  composer's  most  popular  work.  It  has 
but  three  characters,  which  were  rejjre- 
sented  at  its  original  pi-oduction  by  Mme 
Pradher,  luchindi,  and  Couderc. — Pougin, 
Adolphe  Adam,  90. 

CHALLONER,  NEVILLE  BUTLER, 
born  in  London  in  1784,  died  after  1835. 
Harpist  and  violinist,  pupil  of  Dubroeck  on 
the  violin.  He  made  his  debut  iu  1793,  be- 
came violinist  at  Covent  Garden  Theatre  in 
179G,  orchestra  conductor  at  the  theatre  in 
Richmond,  1799,  and  soon  after  at  Birming- 
ham. In  1809  he  became  harpist  at  the 
Italian  Opera,  London,  and  later  a  music 
dealer.  He  published  miscellaneous  works 
for  harp  and  pianoforte,  and  methods  for 
both  instruments,  and  for  violin. — ilendel. 

CHALON,  FREDERIC,  French  flutist 
and  oboe  player-,  contemporary.  He  was 
long  a  member  of  the  orchestra  of  the 
Opera  Comique,  and  was  retired  with  a 
pension  in  1821.  Works :  Airs  nouveaux 
pour  la  flfite,  ler  et  2nie  receuils  ;  G  duos 
faciles  pour  deux  flutes,  op.  2  ;  G  do.,  op. 
3  ;  Deux  suites  d'airs  en  duos  ;  Valses  et 
anglaises  pour  deux  fliites;  Methode  pour 
le  flageolet ;  Methode  pour  le  cor  anglais 
avec  des  airs  et  des  duos  ;  Methode  pour  le 
hautbois  a  neuf  clefs  (Paris,  182G). — Fctis  ; 
Mendel. 

CHALONS,  CH.VRLES,  lived  at  Amster- 
dam about  the  middle  of  the  18th  century. 
Works :  6  symphonies  a  huit  part.  (17G0)  ; 
6  sonates  pour  clavecin  (Amsterdam,  1762). 
—Fetis. 

CHAMATERO,   IPPOLITO,   born  iu 

Rome  in  the  first  half  of  the  IGth  century. 

He  was  maestro  di  cappella  of  the  Cathedral 

of  Udine,  in  FriuH.     Among  his  works  are  : 

i  JIadrigali   a   quattro  voci   (Venice,    15G1)  ; 

1  Salmi    coristi  a   8   voci  in   due  mute   con 


CHAMBER 


Magnificat  separate,  in  Venetia  (1573). — Fii- 
tis  ;  Mendel. 

CHAMBER  DUETS  (Italienisclien  Kam- 
merduette),  music  bj'  Handel.  There  are 
in  all  twenty-two  of  these,  numbered  in 
Chrysandei-'s  edition  as  follows  :  I.  (A).  Caro 
autor  di  mia  doglia  (Soprano  and  Alto). 
I.(B).  Caro  autor  di  mia  doglia  (2  Alti). 
I.(C).  Caro  autor  di  mia  doglia  (2  Soprani). 
U.  Gill  nei  Tartarei  regni  (Soprano  and 
Basso),  ni.  Souo  liete,  fortunate  (Sopra- 
no and  Alto).  TV.  Troppo  cruda,  troppo 
fiera  (Soprano  and  Alto).  V.  Che  vai  pen- 
sando,  foUe  j^ensier  (Soprano  and  Basso). 
VI.  Amor  gioje  mi  jjorge  (2  Soj)rani).  VII. 
Va,  speme  infida,  pur,  v;i,  non  ti  credo  (2 
Soprani).  VIII.  A  mirarvi  io  son  intento 
(Soprano  and  Alto).  IX.  Quando  in  calma 
ride  il  mare  (Soprano  and  Basso).  X.  Ta- 
cete,  ohime,  tacete  (Soprano  and  Basso).  XL 
Couservate,  raddoppiate  (Soprano  and  Alto). 
Xn.  Tanti  strali  al  sen  mi  scocchi  (Soj^ra- 
no  and  Alto).  XTTT.  Langue,  geme,  sos- 
pira  e  si  lagna  (Soprano  and  Alto).  XTV. 
Se  tu  non  lasci  amore  (Sojirano  and  Alto). 

XV.  Quel  fior  che  all'  alba  ride  (2  Soprani). 

XVI.  No,  di  voi  non  vo'  fidarmi  (2  Soprani). 
XVn.  N",  di  voi  non  vo'  fidarmi  (Soprano 
and  Alto).  XVIII.  Beato  in  ver  chi  piio 
(Sojjrano  and  Alto).  XIX.  Fronda  leggiera 
e  n:obile  (Soprano  and  Alto).  XX.  Ahi, 
nelle  sorti  iimane  (2  Soi)rani).  Of  these, 
I. (A)  was  written  about  1707  ;  I.(B)  about 
1740  ;  the  tliirteen  including  Nos.  IIL-XIV. 
and  No.  I.  (C)  were  composed  for  the  Prin- 
cess Caroline  in  Hanover  in  1710-12,  and 
tlie  text  was  furnished  by  the  Abbate  Orten- 
sio  Mauri.  They  were  published  originally 
by  Arnold  ;  and,  edited  by  Chrysauder, 
by  the  Hiindelgesellschaft  (Leipsic,  1870). 
Nos.  XV.-XX.  belong  to  the  years  1741-45. 
The  whole  twenty-two  duets  and  two  trios 
(written  in  Naples,  1808)  are  edited  by  Chry- 
sauder and  published  bj-  the  Hiindelgesell- 
schaft  (Leipsic,  1880),  the  accompaniment  to 
I.  (C).  filled  out  by  Josej^h  Joachim,  that  to 
nearly  all  the  others  by  Johannes  Brahms. 
v.,  Vn.,  X.,  and  XIII.,  are  published  sep- 


arately by  Kistner  (Leipsic),  the  accompani- 
ment tilled  out  in  a  far  more  masterly  style 
by  Robert  Franz. 

cha;mbonni£res,  jacques  cham- 
pion DE,  flourished  in  Paris  in  the  17th 
century,  died  about  1670.  Organist,  sou  of 
Jacques  Champion  and  grandson  of  An- 
toine  Champion,  both  celebrated  organists. 
He  took  the  name  of  Chambonnieres  from 
his  wife's  estate,  near  Brie.  He  was  first 
hai-psichord  player  to  Louis  XIV.,  and 
formed  the  school  of  harpsichord  players 
which  preceded  Rameau.  Among  his  pu- 
pils were  Auglebert,  La  Begue,  and  the 
earlier  Couperins.  Published  works  :  Two 
volumes  of  harpsichord  music  (Paris, 
1G70)  ;  the  first  is  in  the  Conservatoire 
Lib.,  the  second  in  the  Biblioth.  Nat. — Fe- 
tis  ;  Mendel. 

CHAMPEIN,  STANISLAS,  born  in  Mar- 
seilles, Nov.  19,  1753,  died  in  Paris,  Sei^t. 
19,  1830.  Dramatic  composer,  pupil  in 
Paris  of  Pecico  and  Chauvet.  He  became 
music-master  at  the  Collegiate  Church  of 
Pignan,  in  Provence,  when  only  thirteen 
years  of  age,  and  wrote  a  mass,  a  magnifi- 
cat, and  some  psalms,  which  were  given  in 
the  chapel  of  the  college.  In  1770  he 
went  to  Paris,  and  had  a  motet  and  full 
chorus  performed  in  the  Royal  Chajiel  at 
Versailles,  which  was  rejjeated  at  the  fete  of 
St.  Cecilia  in  the  same  year,  with  the  addi- 
tion of  a  mass,  and  from  that  time  he  be- 
came one  of  the  foremost  musical  compos- 
ers in  France.  His  first  dramatic  work,  Le 
soldat  fran<;ais,  was  given  by  the  comedi- 
ans of  the  Bois  de  Boulogne,  about  1780. 
The  following  were  given  at  the  Theatre 
Italien,  Paris  :  Mila,  1780  ;  La  mi-lomanie, 
1781  (this  was  his  best) ;  Le  poOte  suppose, 
1783  ;  Le  baiser,  1784  ;  Les  fausses  nou- 
velles,  Les  espiegleries  de  garnison.  Bayard 
dans  Bresse,  178G;  Isabelle  et  Fernand; 
Colombine  douairii're,  ou  Cassaudre  ;  Leon- 
ore,  on  I'heureuse  epreuve,  Les  dettes,  1787  ; 
Les  noces  cauchoises,  1790  ;  Les  epreuves 
dn  republicain,  Les  trois  hussards,  1804  ; 
Menzikofi',  1808  ;  La  ferme  du  Mont-Cenis, 


398 


CHAMPION 


1809  ;  Les  riviiux  d'uu  moineut,  1812  ;  Le  j 
portrait,  ou  la  divinite  da  sauvage,  Tlu'atre 
de  rOpora,  1791.     Le  nouveau   Don  (iui- 
chotte,  Thuutre  de  Monsieur,  178'J,  was  one 
of  bis  best  operas,  but  as  at  the  Tlieiitre  de 
Monsieur  only  works  of  Italian  origin  were 
allowed,  he  produced  it  under  the  name  of 
Zuccarelli,  and  even  Italians  were  deceived. 
Les  hussards  en  cantonnement,  Opora  Co- 
mique,  1817  ;  Les  ruses  de  Froutin,  Thea- 
tre Beaujolais  ;  Florette  et  Colin  ;  Les  de- 
guisements  amoureux ;   Le  nianteau,  ou  les 
nitces  rivales.     From  1792  to  1804,  having 
accepted    a    government  position,    he   did 
not    bring   out    any    new   operas,  but  he 
wrote   the  following  works  for  the  Acade- 
mic   Royale    de    Musique   and   the   Opera 
Comique  :  Le  barbier  de  Bagdad  ;  Diane  et 
Eudymion  ;  Le  trioniphe  de  Camille  ;  Wis- 
nou  ;  LV'ducation  de  I'amoiir  ;  L'iuconnu  ; 
Les  metamorphoses,  ou  les  parfaits  amants ; 
L'amour   goutteux ;    Le    pei'e   adolescent  ; 
Beniowsky  ;  Bianca  Capello  ;   La  paternite 
recouvi-ee  ;  Les  Bohemiens,  ou  le  pouvoir 
de   l'amour ;    Le   noyer  ;   Le   tresor.      La 
chaise  a  porteurs,  composed  for  the  Prince 
de  Conde,  played  at  Chantilly  by  the  Prince 
and  Mademoiselle  de  Conde. — Fetis  ;  do., 
Supplement,  i.  168  ;  Mendel. 

CHAMPION,  ANTOINE,  French  organ- 
ist, in  the  reign  of  Henri  IV.  The  royal 
library,  Munich,  has  a  mass  for  live  voices 
and  a  book  of  organ-pieces  by  him  in  MS. 
He  was  the  grandfather  of  Chambonnieres 
and  the  father  of  Jacques  Champion,  organ- 
ist under  Louis  XIII. — Fetis  ;  Mendel. 

CHAAIPS,  ETTORE  DE,  born  in  Flor- 
ence, Aug.  8,  1835,  still  living,  1888.  Dra- 
matic composer  and  pianist ;  studied  the 
piano  with  Gioacchino  Gordoni,  harmony 
and  counter-point  with  Colsou,  and  compo- 
sition with  Mabellini.  He  taught  nnisic 
successfully,  pul)lished  much  for  the  piano- 
forte, and  finally  composed  for  the  stage. 
Works— Opere  buffe  :  I  tuttori  e  le  pupille, 
given  at  Florence,  Teatro  della  Pergola, 
18G9  ;  II  Califlb,  ib.,  1870.  Operette  :  Gosto 
e  Mea,  La  secchia  rapita  (with  Gialdini,  Fe- 


lici,  and  Tacchiuardi),  1872  ;  L'  Idolo  Cinese 
(with  Tacchinardi,  (Jiaklini,  Felici,  Usiglio, 
and  Bacchini),  1871 ;  Le  orfanelle,  Florence, 
1879  ;  I  pregiudizi  della  zia  Teresa,  ib., 
1880.  Ballets  :  II  genio  delle  colline,  Tea- 
tro Pagliano,  1854  ;  II  naufragio  della  fre- 
gata  La  Peyrouse,  ib.,  1859.  Besides  these, 
he  has  published  church  music,  consisting 
of  masses,  with  orchestral  accompaniment, 
etc.— Fetis,  Supplement,  i.  169  ;  Mendel, 
Erganz.,  Gl. 

CHANDOS  ANTHEMS,  a  series  of  com- 
positions, music  by  Handel,  written  and 
produced  in  the  chapel  at  Cannons,  during 
his  residence  there  as  musical  director  to 
the  Duke  of  Chandos,  1718-20.  They  are 
more  properly  choral  cantatas,  and  they 
difler  from  oratorios  only  in  wanting  the 
narrative  element.  Each  one  is  preceded 
by  a  regular  overture  and  divided  into  a 
series  of  airs  and  choruses,  intended  for 
performance  by  a  band,  choir,  and  solo- 
singers.  The  MSS.  of  most  of  them  are  in 
Buckingham  Palace.  In  1789  Arnold  pub- 
lished twelve  of  them,  as  follows  :  L  I  will 
'  magnify  Thee.  H.  Let  God  arise  (in  A). 
m."  Let  God  arise  (in  B-flat).  TV.  Have 
mercy  upon  me,  O  God.  V.  O  come,  let 
us  sing  unto  the  Lord.  VI.  O  sing  unto 
the  Lord  a  new  song.  VII.  My  song  shall 
be  alway.  VHI.  As  pants  the  hai-t.  IX. 
The  Lord  is  my  light.  X.  In  the  Lord  put 
I  my  trust.  XI.  O  praise  the  Lord  with 
one  consent.  XII.  O  praise  the  Lord,  ye 
Angels. — Rockstro,  Handel,  10-i. 

CHANDOS  TE  DEUM,  two  composi- 
tions, music  by  Handel,  produced  in  the 
chapel  at  Cannons,  1718-20.  One  of  these, 
in  B-flat,  is  for  five  voices,  soprano,  three 
tenors,  and  bass  ;  the  other,  in  A,  for  seven 
voices,  soprano,  two  altos,  tenor,  and  three 
basses.  The  MS.  score  of  the  first  is  lost  ; 
that  of  the  second  is  in  Buckingham  Palace. 
They  were  first  published  by  Arnold.— Rock- 
'  stro,  Handel,  106. 

CHANDOSCHKIN, ,  born  in  Russia 

about  1765,  died  (?).     A  violinist,  by  whom 
are    the    following    works :    Six    chansons 


CHANSON 


russes,  vark'es  ponr  violin,  oji.  1.  (1795)  ; 
Six  chansons,  id.  (St.  Petersburg,  1706j. 
— Fetis  ;  Mendel. 

CHANSON  DE  FORTUNIO,  LA  (For- 
tunio's  Song),  operette  in  one  act,  text  by 
Cn'mieux  and  Jules  Servieros,  music  by 
Offenbach,  represented  at  the  Bouffes  Pari- 
sieus,  Paris,  Jan.  5,  1861.  It  is  founded  on 
the  Chanson  de  Fortunio  in  Alfred  de  Mus- 
set's  "Chandelier,"  the  music  of  which  was 
composed  bj'  Otl'enbach  in  1848. 

CHANT  bu  DEPART,  LE,  a  French 
national  hymn,  words  by  Marie  Joseph 
Blaise  de  Chcnier,  music  by  Mchul ;  com- 
posed for  the  fete  on  the  fourth  anniversary 
of  the  taking  of  the  Bastille,  July  14,  1794. 
It  created  a  jirofound  impression,  was  car- 
ried by  the  military  bands  throughout  Eu- 
rope, and  exerted  almost  as  great  a  political 
influence  as  the  Marseillaise.  Of  the  several 
French  national  airs  this  is  the  only  one 
written  in  the  Reign  of  Terror. — Larousse, 
iii.  939  ;  Grove,  i.  440. 

CHANTEUSE  VOIL^E,  LA  (The  Veiled 
Singer),  opcra-comique  in  one  act,  text  by 
Scribe  and  de  Leuven,  music  by  Victor  Masse, 
represented  at  the  Opera  Comique,  Paris, 
Nov.  26,  1850.  Palamita,  servant  of  the 
great  painter  Velasquez,  veils  herself  and 
sings  in  the  plaza  every  evening  to  earn 
money  for  the  support  of  her  master,  who 
has  come  to  Seville  very  pooi*.  Driven  by 
the  persecutions  of  some  cavaliers  to  seek 
refuge  in  his  studio,  he  discovers  her  iden- 
tity and,  touched  by  her  devotion,  deter- 
mines to  marry  her.  One  of  Masse's  best 
works. 

CHAPELLE,  PIERRE  DAVID  AU- 
GUSTIN,  born  in  Rouen  in  1756,  died  in 
Paris  in  1821.  Violinist  and  dramatic 
composer  ;  he  played  first  at  the  Concerts 
Spirituels  concertos  of  his  own,  and  after- 
wards became  violinist  at  the  Comodie 
Italienne.  His  operas  were  performed  at 
that  theatre,  and  at  several  others  in  Paris, 
but  they  are  not  remarkable  ;  La  vieillesse 
d'Annette  et  Lubin  (1789)  was  the  only 
successful  one.     He  wrote  six  concertos  for 


violin,  duos  for  two  violins,  and  several  so- 
natas.— Fetis  :  Mendel. 

CHAPERONS  BLANCS,  LES,  opera-co- 
mique  in  three  acts,  text  by  Scribe,  music 
by  Auber,  represented  in  Paris,  April  9, 
1836. 

CHAPPLE,  SAMUEL,  born  at  Crediton, 
Devon,  England,  in  1775,  died  in  1845. 
Organist,  blind  from  infancy.  He  began  to 
study  the  violin  at  an  early  age,  and  when 
about  fifteen  received  lessons  on  the  piano- 
forte from  Eames,  of  Crediton,  a  pupil  of 
Thomas,  scholar  of  John  Stanley,  all  three 
of-  whom  were  blind  organists.  He  was  or- 
ganist of  Ashburton  from  1795  to  1835. 
Among  his  publications  are  the  following  : 
Three  sonatas  for  pianoforte  with  accom- 
paniment for  violin  ;  Five  songs  and  a  glee, 
the  words  by  A.  G.  C.  Tucker ;  Six  anthems 
in  score  ;  A  second  set  of  anthems  in  score  ; 
A  third  set  of  anthems  in  score  and  twelve 
psalm  tunes,  and  an  anthem. — Grove  ;  Fe- 
tis  ;  Mendel. 

CHARBONNIER,  Abbe  ETIENNE 
PAUL,  born  at  Marseilles,  Dec.  19,  1793, 
died  at  Aix,  Oct.  7,  1872.  Organist,  pujiil 
of  the  Metropolitan  Church  of  Aix,  where 
he  was  received  as  chorister  in  1810.  In 
1821  he  was  ordained  a  priest,  was  organist 
of  the  cathedral  at  Aix  in  1822-67,  and 
shortly  after  became  honorary  canon.  He 
made  a  study  of  the  old  Provencal  music, 
and  this  gave  a  tinge  to  some  of  his  own  com- 
positions, notably  to  a  pastorale  proven<;ale. 
He  has  published  a  volume  entitled  :  Noiils, 
Magnificats,  Marche  des  Rois,  arranged  for 
the  organ  and  the  harmonium.  Otlier 
works  :  Fifty  cantiques,  forty  motets,  and 
other  church  music,  two  Passions,  one  for 
Palm  Sunday,  the  other  for  Good  Friday, 
with  accompaniments  of  violoncellos,  double- 
basses,  and  organ. — Fetis,  Supplement,  i. 
169  ;  Mendel,  Ergilnz.,  61. 

CHARDAVOINE,  JEAN,  born  in  Beau- 
fort, Anjou,  about  the  middle  of  the  16th 
century,  living  in  1576.  Composer  of  sev- 
eral collections  of  songs  with  the  following 
titles :   Recueil  de  chansons,   en  mode  de 


800 


CHARDINY 

vaudevilles,  tir^-es  de  divers  auteurs,  avec  la  Copenhagen    18G1  ;    Cromwell  et  Charles 
musique    de   leur    cbaut   commuu  (1575) ;:  II.,  by  Auatole  Olivier,  Pans,  1867. 


Kecueil  des  plus  belles  chansons  moderues 
mis  en  musique  (Paris,  157G).— Fctis ;  Men- 
del. 

CHAKDINY,  LOUIS  ARMAND,  born  m 
Rouen  in  1755,  died  in  Paris,  Oct.  1,  1793. 
Dramatic  composer  ;  he  made  his  debut  as 
a  baritone  singer  at  the  Opera  in  1780,  but 
though  his  voice  was  sweet  and  pure  in 
qualify,  he  never  acquired  the  art  of  acting. 
He  wrote  the  following  operas  for  the  Beau- 
jolais  Theatre :  Le  pouvoir  de  la  nature,  La 
ruse   d'amour,    1786  ;   Le   clavet;in,    1787  ; 
Clitandre  et  Cepbise,  1788.     For  the  Como- 
die  Italienne  he  wrote  L'anneau  perdu  et 
retrouve,  1787.     He  wrote  also  the  music 
for  a  melodrama  called  Annette  et  Basile, 
and  he  was  one  of  the  first  to  set  to  music 
the  two  romances,  Estelle  and  Galatoe,  by 
Florian.     His  oratorio,  Le  retour  de  Tobie, 
was  given  at  the  Concerts  Spirituels,  1787. 
— Fetis  ;  Mendel. 

CHARKE,  RICHARD,  English  violinist 
of  the  18th  century,  died  in  Jamaica  about 
1760.  He  was  violinist  in  the  orchestra  of 
the  Drury  Lane  Theatre  in  1735,  and  at  the 
same  time  actor  and  dancing  master.  Dis- 
sipated habits  and  an  unhappy  union  with 
the  actress  Charlotte  Cibber,  whom  he  ill- 
treated,  brought  him  into  trouble,  which  he 
tried  to  escape  by  emigrating  to  the  West 
Indies  in  1756.  He  is  notable  as  the  first 
to  compose  the  so-called  medley-overtures. 
— Hawkins  ;  Mendel. 

CHARLES  n..  King  of  England,  subject 
of  the  following  operas  :  Karl  H.,  music  by 
Karl  Blum,  KOnigsberg,  1807  ;  Charles  the 
Second,  by  Henry  Rowley  Bishop,  London, 
1824  ;  Charles  II.,  one  act,  by  Jules  Bovury, 
Paris,  1844  ;  King  Charles  the  Second,  two 
acts,  text  by  Desmond  Ryan,  music  by  ]Mac- 
farren,  Princess's  Theatre,  London,  Oct.  27, 
1849  ;  Ein  Abenteuer  Karl's  H.  (An  Advent- 
ure of  Charles  H.),  text  by  Mosenthal,  mu- 


CHARLES  YL,  opera  in  five  acts,  text  in 
verse,  by  Casimir  and  Germain  Delavigne, 
music  by  Halevy,  represented  at  the  Acade- 
mie  Royale  de  ISIusique,  Paris,  March    15,^ 
1843.     A  patriotic    work,   the   libretto   of 
which  deals  with  the  English  wars  in  the 
time   of  Charles  VI.  of   France,  in   which 
Odette,  the  daughter  of  an  old  guardsman, 
plays  a  role  similar  to  that  of  Joan  of  Aix. 
The  libretto  is  well  written,  the  situations 
are  dramatic  and  interesting,  and  the  mu- 
sic is  full  of  beauties  and  well  sustained. 
The  opera  has  been  given  more  than  a  hun- 
dred times. 

CHARLOT,  JOSEPH  AUGUSTE,  born 
in  Nancy,  Jan.  21,    1827,    died  in   Sevres, 
August,  1871.     Composer,  pupil  of  Zimmer- 
man at  the  Conservatoire,  Paris,  where  he 
carried  off  many  of  the  first   prizes.     He 
finished  bis  studies  under  Carafa.     He  took 
the  first  prize  for  solfege  in  1838,  when  only 
eleven  years  old  ;  second  prize  for   piano- 
forte in  1839,   and  the  first  in  1841  ;  the 
second  prize  for  harmony  and  accompani- 
ment in  1841,  and  the  first  prize  for  har- 
mony in  1842.     He  obtained  also  an  honour- 
able mention  at  the  Institut  de  France  in 
1846,  the   second  prize  in  1847,   and   the 
cvrand   prix  de    Rome  in    1850.     He   was 
director  of  singing  at  the  Opera  Comique, 
composer   of  many  works,  some  of  which, 
consisting  of  vocal  melodies,  choruses,  etc., 
are  in  MS.     M.  Hartmann  has  published  a 
collection  of  his  music  entitled,  Dix   J\Ielo- 
dies,    among    them   Le    geant,    written  to 
Victor  Hugo's  words,  a  composition  replete 
with  inspiration.— Fetis,  Supplement,  i.  171. 
CHARMANTE    GABRIELLE,     French 
romance,  attributed,  both  words  and  music, 
to  Henri  IV.     The  Charming  Gabrielle   is 
Gabrielle  d'Estrees,  the  mistress  of  Henri, 
who  sent  the  song  to  her  in  a  letter  dated 
May  21  [1597],  when  he  was  preparing  to 


larles  ii.  ,  text  uy  uiuseuiiun,  u....-   ^.--v  —  l j'  .  .  ,      tjinn. 

.ic    bv   von    Piittlin-^en,    Vienna,    Jan.    13,   leave  for   the  campaign  against  the  Span 

1850    k'ts  I     Fhu^h    (Flight  of  Charles  !  iards.     The  words  of  the  four  couplets  were 

II  rt'ext  by  Overskou,musicly  Eric  Sivori,:  probably   wx-itten   by    Bertaut,   Bishop    of 


SOI 


CIlARPENTlEPt 


Seez,  and  tlie  melody  is  supposed  to  be 
older.  Fetis  attributes  it  to  Eustaebe  du 
Caurroy,  maitre  de  cbapelle  to  Cbarles  IX., 
Heuri  III.,  aud  Henri  IV.,  but  tbis  is  doubt- 
ful.— Grove,  i.  572  ;  Larousse,  iii.  1024. 

CHAEPENTIEE,  MAKC  ANTOINE, 
born  iu  Paris  iu  lG3i,  died  tbere,  JMarcb, 
1702.  Dramatic  comi^oser,  j)upil  of  Caris- 
simi  at  Eome.  He  was  maitre  de  cba- 
pelle to  tbe  Daupbiu,  under  Louis  XIV., 
and  was  displaced  by  Lulli,  wbose  rival  be 
became,  and  wbom  be  sougbt  to  suri^ass  iu 
dramatic  composition.  Disgusted  witb  tbe 
tbeatre,  be  finally  turned  bis  attention  to 
cburcb  composition,  aud  became  professor 
of  music  in  tbe  Jesuit  College,  aud  maitre 
de  cbapelle  of  tbe  Sainte  Cbaiselle,  a  posi- 
tion wbicb  be  occupied  until  bis  deatb. 
Works — Oj^eras  :  Circt',  given  at  tbe  Tbeatre 
de  la  rue  Guouegaud,  1675  ;  music  to  tbe 
Malade  imaginaire  ;  Les  plaisirs  de  Ver- 
sailles ;  La  fete  de  Ruel  (about  1690)  ;  Les 
arts  fiorissants,  given  iu  Paris  about  1673 ; 
Le  sort  d'Andromede  (about  1670)  ;  Les 
fous  divertissants,  Comedie  Franyaise,  1680  ; 
Acteon  ;  Le  jugement  de  Pan  ;  La  cou- 
ronue  de  fleurs  ;  La  serenade  ;  Le  retour 
du  printemps  ;  Les  amours  d'Acis  et  Gala- 
tee,  1678 ;  Medee,  1693.  Otber  works  : 
Several  tragedies  spirituelles,  Jesuits'  Col- 
lege ;  Pastorales ;  Motets,  masses,  etc. — 
Fetis  ;  Burney,  iv.  607  ;  Mendel ;  Riemann, 
156. 

CHAETRAIN,  N.   ,  native  of  Liege, 

died  in  1793.  Violinist  at  tbe  Opera,  Paris, 
in  1772,  and  played  one  of  bis  own  com- 
positions at  the  Concerts  Spiritnels  in  tbe 
same  year.  Works — Operas :  Le  Lord  sup- 
pose, played  at  tbe  ComOdie  Italienne, 
Paris,  Feb.  22,  1776 ;  Alcyone,  about  1780. 
Quartets  for  2  violins,  viola,  and  bass,  op. 
1,  4,  5,  6  ;  Concertos  for  violin,  op.  2,  3, 
7  ;  Six  sympbonies  for  eigbt  parts,  op.  6  ; 
Six  duos  for  violin  and  viola,  op.  9  ;  Six 
trios  for  two  violins  and  viola,  op.  10. 
—Fetis  ;  Mendel. 

CHASSE  DU  JEUNE  HENRI,  LA,  over- 
ture to  tbe  opera-comique,  Le  jeune  Henri, 


music  by  Mebul,  first  represented  at  tbe 
Tbuatre  Favart,  Paris,  May  1,  1797.  Tbe 
ojiera  bas  survived  only  in  its  magnificent 
overture,  wbicb  was  so  entbusiastically  re- 
ceived at  its  first  performance  that  tbe  or- 
chestra was  obliged  to  repeat  it  a  second 
and  a  tliird  time.  At  tbe  Exposition  uni- 
verselle,  Paris,  1867,  it  was  played  with 
grand  effect  by  three  thousand  musicians 
under  the  direction  of  Georges  Hainl,  con- 
ductor of  the  Academic  de  Musique. 

CHASSE,  LA,  3  sonatas  for  pianoforte 
and  violin,  in  C,  F,  and  A  major,  by  Johann 
Ludwig  Dussek,  op.  8.  Published  by  Breit- 
kojjf  &  Hiirtel  (Leijisic). 

CHASSE,  LA,  symphony  for  full  orches- 
tra, by  Fran9ois  Joseph  Gossec.  This  work 
suggested  to  MehvU  his  Chasse  du  jeune 
Henri. 

CHASSE,  LA  (The  Chase),  symphony  by 
Josef  Haydn,  composed  in  1781.  The  last 
movement,  which  gave  tbe  symjihony  its 
name,  was  composed  first,  and  formed  the 
introduction  to  tbe  third  act  of  Haydn's 
opera,  La  fedelta  premiata.  Tbe  first  move- 
ment contains  fine  details  ;  tbe  andante  bas 
a  genuine  folk-song  theme,  pervading  the 
whole  movement.  Iu  tbe  lively  menuet 
occurs  a  bassoon  solo.  The  finale  leads  us 
to  the  bunting  ground ;  the  horns  resound, 
supported  by  the  oboes,  and  the  motives 
wander  from  instrument  to  instrument. 
Before  the  repetition  of  tbe  beginning,  the 
united  attack  of  the  instruments  produces 
a  powerful  eftect.  Towards  tbe  close,  oboes 
aud  horns  give  out  once  more  tbe  princiisal 
motive,  then  cease  completely.  The  otber 
instruments  grow  fainter,  and  gradually 
die  away  iu  the  distance.  Haydn  arranged 
this  symphony  also  for  pianoforte,  in  which 
form  it  was  published  by  Artaria  (Vienna). 
— Pohl,  ii.  191,  268. 

CHASSEUR  DANOIS,  LE,  song  for  a  bass 
voice,  witb  pianoforte,  by  Hector  Berlioz. 
Later  addition  to  the  Feuillets  d'  Album, 
op.  19  (Paris,  Mayaud). 

CHASTAN,  JULES,  born  in  Marseilles, 
April  30,  1837,  still  living,  1888.    Dramatic 


302 


CIIASTILLON 


composer,  pupil   at   tlie    Conservatoire    of 
Marseilles,   and   studied  iu   185-4   in  Italy. 
He  brought  out  at  Naples  a  mass,  for  which 
the  King   of   Naples  decorated   him.     On 
his  return  to  Marseilles  he  published  sev- 
eral pieces  for  the  pianoforte  and  the  voice, 
and  brought  out   an   opera,  Don  Jose   de 
Guadiaua,  1874.     He  wrote  orchestral  mu- 
sic, a  march,  and  a  ballet  for  the  drama, 
Le  roi  Reue,  which  was  produced  at  Mar- 
seilles.     Among  his  publications  are  :  Ee- 
ceuil  de  dix  melodies ;  Souvenir  de  Koche- 
Heureuse,  violoncelle  et  piano  ;   Chant  cir- 
cassien  ;   Chant  d'automne  ;  Le  gondolier  ; 
La  feuille  envolee  ;  La  mi-re  du  Cosaque  ; 
Les  paquerettes  ;  L'hymne  de  I'enfant  a  son 
rcveil,  romances  ;  LY-mir  de  Bengador ;  Pre- 
mier nocturne ;   Deuxieme  nocturne  ;  and 
several  pieces  of  dance  music. — Fetis,  Sup- 
plement, i.  173. 

CHASTILLON  DE  LA  TOUR,  GUIL- 
LAUME  DE,  French  musician,  living  at 
Caen  at  the  close  of  the  ICth  century.  He 
published  a  collection  of  airs  and  chansons 
with  the  title  :  Airs  de  I'invention  de  G.  D. 
C.  Hr.  de  la  Tour,  de  Caen,  sur  plusieurs 
poemes  saints  et  chrutiens  recueillis  de  di- 
vers auteurs  et  divises  en  trois  livres :  L 
De  la  grandeur  de  Dieu  et  de  se  rejouir  en 
lui ;  II.  De  1' Amour  divin  et  du  Mariage  ; 
TIT.  Du  Mepris  du  monde  et  de  I'Esperance 
en  Dieu  (Caen,  1593).  These  airs  were 
in  four  parts,  for  tenor,  counter-tenor,  air, 
and  bass.— Fetis,  Supplement,  i.  173  ;  Men- 
del, Ergiinz.,  G2. 

CHASTITY,  THOU  CHERUB  BRIGHT, 
soprano  air  iu  F  major,  of  Daniel,  iu  Han- 
del's Susaima. 

CHAULIEU,  CHARLES,  born  in  Paris, 
June  21,  1788,  died  in  London,  April  19, 
1840.  Pianist,  pupil  of  Adam  and  Catel  at 
the  Conservatoire.  He  settled  in  London 
in  1840,  as  a  teacher  ;  arranged  a  book  of 
studies,  "  L'Indispensable,"  a  good  elemen- 
tary work.  Works  :  Sonatas,  caprices, 
rondos,  etc.,  for  pianoforte,  and  arrange- 
ments from  operas.— Fetis  ;  Mendel ;  Schil- 
ling. 


CHAUMET,    WILLIA:M,    born   in    Bor- 
deaux, April  26,   1842,   still   livmg,    1888. 
Dramatic  composer.     Destined  for  a  busi- 
ness career,  he  saved  enough  from  his  al- 
lowance to  give  himself  a  musical  education. 
When  twenty-three  years  old  he  wrote  the 
music  to  an  operetta  by  Hippolyte  Miniei-, 
entitled  Coche,  which  was  never  produced. 
After  this  he  published  music  for  the  violin 
and  the  pianoforte,  a  quartet  for  string  in- 
struments, some  romances,   etc.      In  1872 
he  produced  an  opera-corn  ique,  Le  pechc  de 
M.  Geronte,  at  the  Theatre  Lyrique  de  I'A- 
thent'e,  Paris.     In  1873  he  wrote  the  mu- 
sic for  Adolphe  Adam's  Muhul  chez  Gluck, 
which  was  not  brought  out  owing  to  the 
closing  of  the  Ath6nee  ;  in  the  same  year  he 
produced  Idea,  at  Bordeaux,  and  in  1875 
he  received  the  prize  of  the  Institut  des 
Beaux-Ai-ts  for  the  music  of  Bathyle.     His 
style  is  modelled  on  that  of  Gounod  and 
Bizet,  whose  sincere  admirer  he  has  always 
been. — Fetis,  Supplement,  i.  174. 

CHAUVET,  CHARLES   ALEXIS,  born 
iu  Marnes,  June  7,  1837,  died  in  Argentan, 
Jan.  28,  1871.     Organist,  pupil  at  the  Con- 
servatoire of  Benoist  for  the  organ,  and  of 
Ambroise  Thomas  for  fugue  and  composi- 
tion.    In  1859  he  took  the  second,  and  in 
18C0  the  first,  prize  for  organ.     He  was  or- 
ganist of  the  churches  of  St.  Thomas  d'A- 
quin,  of  St.  Bernard,  and  of  St.  Mery,  and 
was  chosen  organist  of  the  Church  of  the 
Trinity  when  it  was  erected,  in  18G9.     He 
was  remarkable  for  his  wonderful  powers 
of  improvisation.     Works  :  Vingt  morceaux 
pour  orgue,  en  4  suites  ;  Quatre  morceaux 
de  genre  pour  piano  ;  Quatre  oflfertoires  de 
I'Avent  a  Noel,  pour  orgue  sans  pedales,  ou 
harmonium  ;  Cinq  feuillets  d'album,  idem  ; 
Quinze  fitudes  preparatoires  aux  reuvres  de 
Bach,  idem  ;   Cinq  offertoires  de  Noel  a  I'E- 
piphauie  pour  orgue  ou  harmonium,  idem ; 
Six   pieces   pour   piano,  eu   deux   cahiers, 
idem  ;  and  many  other  pieces  published  in 
the  Maitrise,  and  other  collections  of  the 
'  same  kind.— Fetis,  Supplement,  i.  174 ;  Men- 
':  del,  Ergiinz.,  62  ;  Riemann. 


303 


CHAUYON 


CHAUVON, 


,  French  imisiciaii  in  the 


King's  service,  about  1740.  He  composed 
and  published  the  following  works  :  Les 
charmes  de  I'harmonie,  et  les  agrcments 
ehampetres  ;  Le  philosophe  anioureux,  can- 
tata ;  Two  books  of  pieces  for  the  voice 
called  Mille  et  un  airs  ;  and  a  book  of  so- 
natas for  the  flute  alone,  with  the  title,  Les 
Tibiades.— Fotis. 

CHAVAGNAT,  ANNE  PIERRE  tDOV- 
ARD,  born  in  Paris,  Oct.  17,  1845.  A  blind 
musician,  pupil  at  the  National  Institution 
for  the  Blind  ;  and  at  the  Conservatoire 
(186G),  where  he  studied  composition  un- 
der Victor  Masst'.  He  obtained  a  third  ac- 
cessit  for  fugue  in  1867,  the  second  accessit 
in  1868,  and  the  first  later.  Among  his  com- 
jjositions  are  pieces  for  the  voice  and 
choruses  with  orchestral  accompaniment ; 
and  a  collection  of  vocal  melodies  entitled 
Mignonne  (Paris). — Fetis,  Supplement,  i. 
173. 

CHAVfiS,   J ,   born  at   Montpellier, 

France,  in  1770,  died  in  Paris,  in  1808. 
Violinist,  pianist,  and  dramatic  composer. 
He  comjjosed  the  opera,  Euee  et  Laviuie, 
at  the  age  of  fifteen  ;  his  unusual  talents 
bi'ought  him  into  notice  in  Paris,  but  he 
was  an  inveterate  gambler  and  soon  ruined 
all  his  j)rospects  in  life.  He  published  so- 
natas and  romances  for  the  pianoforte  and 
wrote  a  book  :  "  Rudiment  de  musique  par 
demandes  et  reponses,"  which  was  published 
by  Olivier  and  Godefroy  (Paris,  no  date) ; 
and  at  one  time  he  served  in  that  j^ublish- 
ing  house  as  proof-reader,  ha\'ing  dissipa- 
ted the  entire  fortune  brought  to  him  by 
his  wife.  He  ended  his  life  by  throwing 
himself  into  the  Seine. — Fetis;  Mendel. 

CHECCHI,  RANIERO,  born  at  Pisa,  in 
1749,  died  at  Leghorn,  about  1815.  Dra- 
matic composer,  received  his  first  musical 
impressions  from  Giovanni  Gualberto  Bru- 
netti,  and  finished  his  studies  under  Orazio 
Mei,  maestro  of  the  cathedral  at  Leghorn, 
where  he  afterwards  lived.  He  wrote  several 
operas,  among  them  L'eroe  ciuese,  and  pub- 
lished a  great  deal  of  church  music.     His 


collection  entitled  Partimenti,  is  a  ^York  on 
harmony. — Fetis  ;  Mendel. 

CHEFDEVILLE  (Chedeville),  ESPRIT 
PHILIPPE,  died  in  Paris,  in  1782.  He 
was  one  of  two  brothers  celebrated  for  their 
playing  on  the  musette  or  French  bag-pipe, 
though  his  brother,  Franyois,  was  much  his 
inferior.  He  entered  the  orchestra  of  the 
Opera  in  1725  and  was  pensioned  in  1749. 
Works  :.  Symphonies,  duos  jiour  deux  mu- 
settes, livre  1  et  2  (Paris).  Concerts  cham- 
petres  pour  deux  musettes  et  basse,  op.  3  ; 
Recueil  de  vaudevilles,  menuets,  et  coutre- 
danses  pour  deux  musettes  (Paris). — Fetis  ; 
Mendel ;  Schilling. 

CHEIN,  LOUIS,  born  at  Beaune,  about 
the  middle  of  the  17th  century.  A  chorister 
at  the  Sainte  Chapelle  of  the  palace,  he  be- 
came later  its  maitre  de  chapelle.  He  was 
choir  master  of  the  Cathedral  of  Quimper- 
Corentin  in  the  last  part  of  his  life.  Works : 
Missa  quatuor  vocum  (1689)  ;  Missa  pro 
defunetis  quatuor  voc.  (1690)  ;  Missa  quin- 
que  voc.  and  Missa  quatuor  vocum  (1691). 
—Fetis  ;  Mendel. 

CHELA  RD,  HIPPOLYTE  ANDRii 
JEAN  BAPTISTE,  born  in  Paris,  Feb.  1, 
1789,  died  at  Weimar,  Feb.  12,  1861.  Dra- 
matic composer,  pupil  in  Paris  of  Fetis,  and 
at  the  Conservatoire  of  Dourlen  and  Gossec  ; 
won  the  grand  prix  de  Rome  in  1811,  and 
studied  in  Rome  under  Baini  and  Zinga- 
relli,  and  in  Naples  under  Paisiello.  On  his 
return  to  Paris  at  the  end  of  1816,  he  en- 
tered the  orchestra  of  the  Oj^era  as  violin- 
ist. Disappointed  at  the  small  success  of 
his  Macbeth,  he  went  in  1827  to  Munich, 
where  the  same  opera,  in  part  rewritten, 
obtained  a  complete  success,  and  Chelard 
was  appointed  Hof-Kapellmeister.  In  1829 
he  went  back  to  Paris  and  established  a 
music  store,  which  was  ruined  by  the  out- 
break of  the  revolution  in  1830,  causing  his 
return  to  Munich.  In  1832-33,  he  conducted 
the  German  opera  in  London,  and  in  1836, 
left  Munich,  having  been  appointed  Hof- 
Kapellmeister  at  Weimar.  In  1852-54  he 
lived  again  in  Paris.     Works — Operas  :  La 


3C4 


CHELLERI 


casa  da  vendere,  opera  biiffa,  given  at 
Naples,  1815  ;  Macbeth,  Paris,  1827  ;  La 
table  et  le  logement,  comic  opera,  ib.,  1829  ; 
Mitternacht,  Munich,  1831  ;  Der  Student, 
ib.,  1832  ;  Die  Hermanusschlacht,  ib.,  1835  ; 
Der  Scheibeutoni,  comic  opera,  Weituar, 
1842  ;  Der  Seekadett,  do.,  ib.,  1844  ;  Le 
Aquile  romane,  Milan,  1864  ;  Solemn  mass ; 
Cantatas,  choruses,  etc. — Fetis  ;  do.,  Sup- 
plement, i.  175  ;  Mendel  ;  Riemann. 

CHELLERI,  FORTUNATO,  born  at  Par- 
ma, of  German  parentage  (his  father's  name 
was  Keller),  in  16G8,  died  at  Cassel,  in  1757. 
Dramatic    composer,    pupil    of    his   uncle, 
Francesco  Maria  Bassani,  maestro  di  cappella 
of  the  Cathedral  of  Piacenza,  who  gave  him 
lessons  in  singing,  on  the  harjisichord,  and 
in  counterpoint.     His  first  efibrt  at  compo- 
sition was  the  opera,  Griselda,  produced  at 
Piacenza,  in  1707.     In  1708,  he  was  called 
to  Cremona  to  write  the  opening  opera  of 
the  season  ;  in  Januarj-,  1709,  he  sailed  from 
Genoa  for  Spain,  visited  all  the  principal 
cities,  and  returned  to  Italy  in  1710.     At 
the  end  of  twelve  years  there  was  hardly 
any  city  of  importance  in  Italy  where  his 
operas  had  not  been  given.     The  Bishop  of 
Wtirzburg    made    him    his   Kapellmeister 
about  1722,  just  after  the  last  of  his  operas, 
Zenobia  e  Radamisto,  had  been  successfully 
brought  out  in  Venice.     In  1725  he  became 
Kapellmeister  and  director  of  music  to  the 
Landgrave   of   Hesse-Cassel,    and   in   1726 
went  to  Loudon  and  published  his  cantatas. 
The  successor   to  the   Landgrave   Charles, 
afterwards  King  of  Sweden,  took  him  to  Swe- 
den, in  1731  ;  but  he  returned  to  Cassel  in 
1734.     His  best  known  works  are  :  La  Gri- 
selda, given  at  Piacenza,  1707  ;  II  gran  Ales- 
sandro,  Cremona,  1708  ;  La  Zenobia  in  Pal- 
mira,   Milan,    1711 ;   L'  Atalanta,  Ferrara, 
1713  ;  L'  Alessandro  fra  gli  Amazzoni,  Ven- 
ice, 1715  ;  LaCacciain  Etolia,  1715  ;  Pene- 
lope, 1716  ;  L'  Amalassunte,  regina  de  Goti, 
1718  ;  Alessandro    Severe,    Brescia,    1718  ; 
L'Arsacide,  Lapaceper  amore,  Venice,  1719  ; 
n    Temistocle,   Padua,    1720  ;   Tamerlano, 
Treviso,  1720  ;  L'  iunocenza  difesa,  Venice, 


1721  ;  Zenobia  e  Radamisto,  Venice,  1722  ; 
Amor  della  patria,  1722.  A  book  of  canta- 
tas and  airs  (London,  1726).  A  book  of 
sonatas  and  fugues  for  the  organ  and  harp- 
sichord (Cassel,  1729)  ;  Psalms,  masses, 
serenades,  oratorios,  trios,  nocturnes,  sym- 
phonies, ouvertures,  all  published  in  Ger- 
many.— Fetis  ;  Mendel ;  Riemann  ;  Schilling. 

CHENEVILLET,  PIERRE,  French  com- 
poser of  the  last  half  of  the  17th  century. 
He  was  music  teacher,  and  canon  of  Saint- 
Victor  at  Clermont.  His  works  are  :  Missa 
quatuor  vocum  ad  imit.  mod.;  Vota  mea 
Domino  (1652)  :  Missa  quatuor  vocum  ad 
imit.  mod.;  Deus  ultionis  Dominus  (1653); 
Missa  quatuor  vocum  ad  imit.  mod. ;  Indica 
mihi  (Paris,  1672).— Fetis;   Mendel. 

CHENIE,  MARIE  PIERRE,  born  in  Pa- 
ris, June  8,  1773,  died  there.  May  6,  1832. 
Organist,  pupil  of  the  Abbe  Haudinot ;  when 
sixteen  years  old  a  mass  by  him  was  per- 
formed in  the  Church  of  Saint-Jacques-de- 
la-Boucherie.  He  played  the  double-bass 
in  the  orchestra  at  the  Opera,  from  1795  till 
1820,  and  was  afterwards  in  the  orchestra 
of  the  Theatre  Italien,  and  in  the  choir  of 
the  Chapelle  Royale.  At  one  time  also  he 
was  organist  at  the  Salpctriere,  and  was 
professor  of  the  double-bass  at  the  Conser- 
vatoire. He  wrote  masses,  motets,  three 
Te  Deum,  a  Regina  Cceli,  an  O  Salutaris,  a 
Domine  Salvum,  etc.,  and  some  romances 
and  fugitive  pieces. — Fetis  ;  Mendel. 

CHERBLANC,  JEAN   LOUIS,  born   at 
Morancu  (Rhone),  March  23,  1809,  still  liv- 
ing, 1888  (?).    Violinist,  first  instructed  at 
Lyons,  where  he  joined  the  orchestra  of  the 
Theatre  des  Celestins  in  1825  ;  went  to  Paris 
in  1829  and  became  a  i^uiail  of  Baillot  at  the 
Conservatoire,  winning  the  second  prize  in 
1831  and  the  first  in  1832.     After  playing 
in  the  orchestra  of  the  Opera  several  years, 
he  returned  to  Lyons  and  became  solo  vio- 
'  linist  at  the  Grand  Theatre.     Works  :  Two 
i  books  of  duos  for  violins  (Paris,  Richault)  ; 
'  Fautaisies,  with  quartet,  op.  3  and  4  (ib.) ; 
Fantaisie  for  violin,  pianoforte,  and  quartet 
1  (ib.) ;  etc.— Fetis  ;  Mendel. 


3U6 


CHERET 


CHEEET,  PIERRE,  born  in  France,  iu 
1793,  died  iu  August,  1864.  Composer  of 
romances  and  dramatic  melodies,  such  as 
L'lieureux  pilote  ;  Sur  la  Falaise  ;  La  m&re 
de  L'Ecossais  ;  Petite  fille  ;  Le  pauvre  ma- 
rins  ;  La  folle  de  Venise  ;  Les  adieus  d'une 
scEur  ;  La  Creole  ;  Matelot  et  mousse,  etc. 
— Fetis,  Supplement,  i.  175. 

CHERT,  VICTOR  (Cizos,  called),  born 
at  Auxerre,  March  14,  1830,  died  by  suicide 
in  Paris,  Nov.  11,  1882.  Violinist,  piupil  at 
the  Conservatoire,  Paris,  studied  the  violin 
under  Massart,  gained  an  accessit  in  18-16, 
the  second  prize  in  1848,  and  the  first  in 
1849.  He  studied  comijosition  under 
Adolphe  Adam,  and  won  the  second  grand 
prix  of  the  Institut  de  France  in  1855,  and 
in  1857  a  prize  at  Bordeaux  for  the  best 
opera-comique,  producing  Une  aventure 
sous  la  ligue.  He  served  as  chef  d'orches- 
tre  at  the  Varietes,  the  Chatelet,  and  the 
Gj-mnase  theatres ;  wrote  the  music  for 
several  ballets  and  faii-y  spectacles  at  the 
Chatelet,  and  published  selections  from 
them  for  the  pianoforte.  He  wrote  also 
a  concerto  for  violin,  with  orchestral  ac- 
companiment, which  has  not  been  jjub- 
lished. — Fetis,  Supplement,  i.  175  ;  Rie- 
mann. 

CHERICI,  SEBASTIANO,  born  near  Bo- 
logna in  1647,  died  (?).  Maestro  of  the 
cathedral  at  Pistoja  and  of  the  Aecademia 
dello  Spirito  Santo  at  Fen-ara,  iu  1684. 
He  was  a  member  of  the  Aecademia  Filar- 
monica  of  Bologna.  Works :  Inni  sacri  a 
2,  3,  4  e  5  voci  con  violini  e  senza,  op.  1 
(1672) ;  Armouia  di  divoti  concert!  a  2  e  3 
voci,  idem  (1681  ;  2d  edition,  Bologna, 
1698)  ;  Compieta  breve  concertata  a  3  e  4 
voci  con  violini  ripieni,  op.  3  (1686) ;  Mo- 
tetti  a  2  6  3  voci  con  violini  e  senza,  op.  4 
(3d  ed.,  1700)  ;  Componimenti  da  camera  a 
due  voci  (1688) ;  Motetti  sagri  a  due  e  tre 
voci  (1695),  dedicated  to  the  Emperor  Leo- 
l)old  I.;  II  Cieco  nato,  oratorio,  da  Ghiberto 
Ferri,  da  cantarsi  nella  chiesa  della  confra- 
ternita  del  SS.  Saci'amento,  eretta  in  San 
Lorenzo    di  Ferrara,  posto  in  musica  dal 


signor  Sebastiauo  Cherici,  1'  anno  1679. 
— Fetis;  Mendel. 

CHERON,  ANDRE,  French  composer  of 
the  18th  ceutiiry,  died  iu  Paris,  1766.  He 
was  mailre  de  musique  at  the  Ojn'ra  in  1734 
and  conductor  several  years  ;  in  1750  he  was 
singing  teacher,  and  afterwards  music-in- 
spector, until  pensioned  in  1758.  Pub- 
lished works :  Trios  ^Jour  fliltes,  op.  1  ;  Duos 
et  trios  pour  flutes,  op.  2.  He  wrote  also 
several  motets,  and  is  supposed  to  have 
written  the  bass  for  the  sonatas  of  Leclair  ; 
he  composed  the  music  sung  to  the  verses 
in  the  tragedy  of  Nieephore,  in  1752. — Fe- 
tis ;  Mendel ;  Schilling. 

CHEROUVRIER,  EDMOND  MARIE, 
born  at  Sable,  France,  Feb.  7,  1831,  still  liv- 
ing, 1888.  Dramatic  composer  ;  at  fourteen 
years  of  age  he  wrote  an  Ave  Maria  which 
was  given  at  the  College  de  Vaugirard. 
He  was  a  pupil  of  Leborne  in  fugue  and 
composition,  although  not  entered  as  a  pu- 
pil at  the  Conservatoire  ;  obtained  an  hon- 
oui'able  mention  from  the  Institut  de  France 
in  1857,  and  the  second  grand  prix  in  1858. 
In  1865  he  brought  out  an  opera,  Le  roi 
des  mines,  at  the  Theatre  Lyrique.  This 
was  succeeded  by  Quentin  Metsys,  opi'ra- 
comique,  received  but  never  played  ;  Gilles 
de  Bretagne,  opera,  and  two  unfinished 
ones.  La  fiancee  de  Corinthe,  and  Nicolas 
Flamel,  opera-comique.  His  church  music 
comprises :  Une  Messe  solennelle  pour 
quatre  voix  d'hommes  ;  a  Tantum  ergo  a 
quatre  voix  ;  an  Ave  Maria  and  a  Tota  pul- 
chra  ;  and  a  Mass,  performed  at  the  Church 
of  Montrouge  in  1876.  Besides  these,  a 
collection  entitled.  Fleurs  d'automne,  melo- 
dies vocales. —  Fetis,  Supplement,  i.  176. 

CHERRY,  JOHN  WILLIAM,  born  in 
London,  Dec.  10,  1824,  still  living,  1888. 
He  is  the  author  of  more  than  one  thousand 
songs,  duets,  and  pianoforte  compositions. 
Some  of  his  works,  such  as  Shells  of  the 
Ocean  and  Will-o-the-Wisp,  have  been  very 
popular. 

CHERUBINI,  (MARIA)  LUIGI  (CARLO 
ZENOBI  SALVATORE),  born  in  Florence, 


am 


C11EUU131XI 


Sept.  8,  1760,  died  in  Paris,  May  15,  1842. 1  Returniug  to  London  in  1787  he  was  ap- 
The  son  of  a  musician  at  the  Pergola  Theatre, '  pointed  composer  to  the  king.     It  was  dur- 
ing this  second  visit   that   he   wrote  some 
new  music  which  he  introduced  into  Cima- 
rosa's  Giannina  e  Beruadone  and  Paisiello's 
GU  schiavi  per  1'  amore.     He  returned  to 
Paris  in  1788,  and  wrote  his  first  French 
opera,  Demophon,  which  was  brought  out 
at  the  Opera  on  Dec.  2d,  but  without  suc- 
cess, Vogel's  work  on  the  same  theme  di- 
verting pubhc  attention  from  it.     Yet  Che- 
rubini's  opera,  besides  being  a  work  replete 
with  beauty,  is  important  as  a  date  both  in 
its  composer's   life  and  in    the   history   of 
French  opera.    In  Dumophon  Cherubini  en- 
tered upon  his  second  manner,  that  elab- 
orate, learned,  and  highly  finished  style  of 
writing  for  which  he   is   now  famous,  but 
which  was  at  that  time  far  beyond  the  com- 
prehension of  the  Paris  public.     He,  how- 
ever, continued  writing  Italian  operas  in  the 
light  manner  of  Cimarosa  and  Paisiello  un- 
til he  brought  out  his  Lodoiska,  in  1791. 
Here  the  revolution  in  his  style,  begun  in 
Demophon,  was  completed ;  the  work  even 
caused  a  thorough  revolution  in  the  style 
of  the  French  dramatic  school,  and  Me-hul, 
Steibelt,  Bertou,  Lesueur,  and  even  Gretry 
followed  Cherubini  in  the   (to  them)   new 
path  he  had  opened.     This  style  is  notice- 
able  for    all   the   perfect    co-operation    of 
voices    and   orchestra,    the   variety  of  har- 
mony,   riclmess    of    instrumentation,    and 
elaborate,   almost   symphonic,  construction 


his  talent  was  evi 
dent  from  the  first. 
The  elements  were 
taught  him  before 
he  was  sis  years 
old,  and  at  the 
age  of  nine  he 
began  to  study 
harmony  and  thor- 
ough bass  under 
Bartolomeo  Fe- 
lici    and   his    son 

Alessandro.  After  the  death  of  these 
teachers,  he  pursued  his  studies  under  Pie- 
tro  Bizzarri  and  Giuseppe  Petrucci,  who 
also  gave  him  some  notions  of  the  art  of 
singing.  His  progress  was  rapid,  and  in 
1773  a  mass  and  an  intermezzo  of  his  own 
were  produced  at  Florence.  These  works 
were  soon  followed  by  others,  which  were 
loudly  applauded  by  the  public.  The  Grand 
Duke  Leopold  H.,  recognizing  the  boy's 
genius,  gave  him  a  pension  in  1778  to  en- 
able him  to  go  to  Bologna  and  complete  his 
studies  under  Sarti.  Cherubini  accordingly 
studied  hard  for  four  years  under  this  great 
master,  who  trained  him  not  only  in  all  the 
subtleties  of  old  Italian  counterpoint,  but 
confided  to  him  the  composition  of  the  mu- 
sic of  the  secondary  roles  in  many  of  his 
own  operas.  Indeed,  Sarti's  scores  abound 
in  pieces  written  by  Cherubini.  Before 
quitting  his  master's  school,  Cherubini 
wrote  an  opera,  Quinto  Fabio,  which  was 
given  at  Alessandria  in  1782,  and  was  fol- 
lowed by  seven  other  works,  brought  out 
at  Florence,  Leghorn,  Rome,  Venice,  and 
Mantua.  In  1781  he  went  to  London,  but 
the  two  operas  he  brought  out  there  did 
not  meet  with  success.  During  his  stay  he 
added  several  numbers  to  the  score  of  Pai- 
siello's Marchese  di  Tulipano.  He  soon 
went  to  Paris,  with  the  intention  of  settling 
there,  but  was  almost  iminediatelv  called  to 


that  we  find  in  Mozart  and  the  great  Ger- 
man composers.  Lodoiska  was  followed 
by  £lisa,  and  Medee.  Unfortunately,  these 
great  and  beautiful  operas  had  the  insuper- 
able disadvantage  of  very  poor  libretti,  and 
hence  never  became  really  popular.  But, 
in  Les  deux  journces  Cherubini  at  last 
found  a  text  worthy  of  his  music,  and  this 
opera  has  generally  been  considered  his 
masterpiece.  In  the  spring  of  1805  Che- 
rubini accepted  an  engagement  at  Vienna, 
where   he    wrote   Faniska,    which    had   an 


mere,   out  w:ia  iiiuiuftu  iiii[iieiii*itci^>    ^;iiiic»i  i-yj  ^  \^ucxc    n^     >fi.vy^v>    -.. — , 

Turin,  where  he  wrote  and  brought  out  his  ,  almo.st  unprecedented  success,  Haydn  and 
opera,  Ifigenia  in  Aulide,  with  great  success.  |  Beethoven    proclaiming   its   author  to   be 


807 


CHEPtUBINI 


"the  first  dramatic  composer  of  liis  time." 
This  work  was  long  considered  the  greatest 
opera  since  Mozart,  and  it  was  thought  a 
ridiculously  high  compliment  to  Beethoven 
when  a  Vienna  critic  predicted  that  Fidelio 
would  cue  day  be  considered  as  great  a 
work  as  Cherubiui's  Faniska.  The  occupa- 
tion of  Vienna  by  the  French  forced  Che- 
rubiui  to  return  to  Paris.  Here  he  wrote 
Pimmaglione  for  the  Italian  oj^era  at  the 
Tuileries,  the  leading  jjart  being  written  for 
Crescentini.  But  Napoleon  never  favoured 
the  composer,  and  Cherubini  felt  that  he 
had  fallen  into  disgrace  in  the  eyes  of  the 
l^ublic.  He  retired  to  the  country  to  seek 
repose  of  mind  at  the  house  of  the  Prince 
de  Chimay,  and  began  to  apply  his  whole 
energy  to  the  study  of  botany.  But  one 
day  a  mass  being  needed  for  a  certain  solem- 
nity at  the  Chimay  Church,  he  was  per- 
suaded to  compose  cue  for  the  occasion, 
and  his  gi-eat  three-voice  mass  in  F  was  the 
result.  From  this  time  forward  he  devoted 
himself  almost  exclusively  to  sacred  com- 
position, in  which  field  he  has  done  prob- 
ably his  greatest  work.  Upon  the  restora- 
tion of  the  House  of  Bourbon,  the  sort  of 
ostracism  which  had  weighed  upon  Che- 
rubini was  removed,  and  he  returned  to 
Paris.  In  1816  he  succeeded  Martini  as 
superintendent  of  the  king's  music,  and 
wrote  many  masses  for  the  Royal  Chapel, 
but  few  of  which  have  been  published.  In 
the  same  j'ear  he  was  appointed  professor 
of  composition  at  the  Conservatoire,  and  in 
1822  director.  He  continued  to  hold  his 
post  at  the  Royal  Chapel  until  1830.  He 
Avas  made  chevalier  of  the  Legion  of  Honour 
in  1814,  and  afterwards  ofiicer ;  and  was  a 
member  of  several  societies,  musical  and 
learned,  in  and  out  of  France.  The  "  Trea- 
tise on  CounteriDoint  and  Fugue,"  published 
under  his  name,  was  not  really  written  by 
Cherubini  himself  and  never  had  his  sanc- 
tion. Cherubini  had  only  made  a  collection 
of  examples  for  the  use  of  his  pupils.  This 
collection  was  pounced  upon  by  a  speculative 
publisher,  and  the  explanatory  text  written 


by  no  one  knows  whom.  The  book  is  full 
of  discrepancies  and  imperfections.  That 
Cherubini  may  have  intended  to  write  a 
work  of  this  description  is  not  unlikely,  but 
he  evidently  abandoned  the  idea,  for  he 
earnestly  urged  F.  J.  Fetis  to  write  a  text- 
book of  counterpoint  and  fugue  to  be  used 
at  the  Conservatoire,  and,  on  the  publica- 
tion of  Futis's  book  (probably  the  most 
thoroughly  excellent  work  on  the  subject 
that  exists),  he  gave  it  his  unqualified  ap- 
proval. Cherubini  was  the  most  learned 
and  expert  contrapuntist  of  modern  times. 
In  grandeur  of  conception,  purity  of  style, 
and  perfection  of  form,  much  of  his  church 
music  equals  the  best  models.  His  operatic 
music  suffers  somewhat  (especially  in  the 
eyes  of  French  critics)  from  his  disregard  of 
the  requirements  of  the  stage,  and  the,  at 
times,  excessive  development  of  separate 
pieces.  Yet  the  prime  essence  of  this  mu- 
sic is  essentially  dramatic  and  emotional. 
His  musical  invention  was  wonderfully  fer- 
tile, his  command  of  every  musical  form 
absolute.  He  was  the  only  Italian  who 
could  hope  to  vie  with  the  great  German 
composers  in  the  higher  departments  of 
instrumental  composition.  His  quartets 
and  overtures  are  still  classics  in  every  con- 
cert-room. AVorks — Operas  :  H  Qitinio  Fa- 
bio,  op.  4:8,  given  at  Alessandria,  Piedmont, 
1780  ;  Armida,  op.  62,  Florence,  1782  ; 
Adriano  in  Siria,  op.  65,  Leghorn,  1782  ;  II 
Meseuzio,  oji.  79,  Florence,  1782  ;  II  Quinto 
Fabio  (reset),  op.  84,  Rome,  Teatro  Argen- 
tina, 1783  ;  Lo  sposo  di  tre,  marito  di  nes- 
suna,  opera  buffa,  Venice,  Teatro  di  S.'  Sa- 
muele,  1783  ;  L'  Idalide,  op.  93,  Florence, 
Teatro  della  Pergola,  1784 ;  Alessaudro 
nell'  Indie,  Mantua,  1784  ;  La  finta  Princi- 
pessa,  ojsera  bufta,  op.  101,  Loudon,  King's 
Theatre,  Hay  market,  1785  ;  11  Giulio  Sa- 
bino,  op.  Ill,  ib.,  1786  ;  Ifigenia  in  Aulide, 
op.  131,  Turin,  Teatro  Reale,  1788  ;  Demo- 
phou,  op.  135,  Paris,  Academic  Royale  de 
Musique,  1788 ;  Lodoiska,  op.  182,  ib..  The- 
atre de  Monsieur,  1791  ;  Elim,  ou  le  voy- 
age au  Mont  Saint-Bernai-d,  o]y.  209,  ib., 


308 


CHEUrBI^'I 


Theiitre  Fej-deau,  1794  ;  Mklie,  op.  214,  ib., 

1797  ;  Uhdlellene  portugaise,  op.  224,  ib., 

1798  ;  La  puiiitiou,  op.  225,  ib.,  1799  ;  La 
prisonuii-re,  pasticcio  (with  Boieldieu),  The- 
atre Montansier,  1799  ;  Les  deux  journues, 
op.  229,  Theatre  Feydeau,  1800  (uuder  the 
title  The  Water-Car lier,  Loudou,  1801)  ; 
Epicure,  pasticcio  (with  Mehul),  op.  230, 
Theatre  Favart,  1800  ;  Anaereoii,  ou  rAmoiir 
fugitif,  op.  241,  Opera,  1803  ;  Achille  a 
Scyros,  ballet,  op.  24G,  ib.,  1804 ;  Faniska, 
op.  254,  Vienna,  Kilrnthuerthor  Theatre, 
1806  ;  Pimmaglioue,  op.  279,  Paris,  Palais 
des  Tuileries,  1809  ;  Le  crescendo,  op.  283, 
ib.,  Opera  Coniique,  1810  ;  Bayard  a  Mezi- 
6res,  pasticcio  (with  Boieldieu,  Catel,  and 
Isouard),  ib.,  1814 ;  Les  Abencvrages,  op. 
299,  Opera,  1813;  Blanche  de  Provence 
(with  Berton,  Boieldieu,  Kreutzer,  and 
Paer),  ib.,  1821  ;  Ali  Baba,  op.  417,  ib., 
1833  ;  Koukourgi,  op.  204  (1793,  not  per- 
formed, and  afterwards  adapted  to  Ali 
Baba);  Marguerite  d'Anjou  (1799,  unfin- 
ished) ;  Selico  (do.)  ;  Les  Arrets,  comic 
opera  (do.)  ;  An  oratorio,  op.  17,  performed 
at  Florence,  1777  ;  Intermezzo,  for  a  The- 
atre de  Societe,  Florence,  1773  ;  II  Giuoca- 
tore,  do.,  ib.,  1775.  Cantatas  :  La  pubblica 
felicita,  op.  4,  Floreiice,  1774  ;  Amphion, 
op.  112,  1786  ;  Circe,  op.  136,  Paris,  Con- 
cert de  la  Loge  Olympique,  1789  ;  La  lib- 
erty, op.  199,  1793  ;  Clytemuestre,  op.  207, 
1794  ;  Cantate  jaour  la  Goguette,  Paris, 
1812  ;  do.  pour  I'etat  major  de  la  garde  na- 
tionale,  ib.,  1814  ;  do.,  avec  choeurs,  pour 
une  fete  de  la  ville  de  Paris,  ib.,  1814  ;  do., 
pour  un  banquet  militaire,  ib.,  1816  ;  Le 
mariage  de  Salomon,  ib.,  1816  ;  Cantate, 
avec  chceurs,  pour  le  bapteme  du  due  de  Bor- 
deaux, 1821  ;  Chant  sur  la  mort  d'Haydn, 
Paris,  Conservatoire,  1810  ;  Ode  pour  le 
mariage  de  1'  Empereur,  1810  ;  Inuo  alia 
primavera,  Loudon,  1815.  Church  music  ; 
11  solemn  masses,  oji.  1  in  D  (1773),  op.  3 
in  C  (1774),  op.  6  in  C  (1775),  op.  272  in  F 
(1808-9),  op.  295  in  D  minor  (1811),  op.  325 
in  C  (1816),  op.  338  in  E-flat  (1816),  op. 
363  in  E  (1818),  op.  372  in  G  (for  the  cor- 


onation of  Louis  XVm.,  1819),  op.  385  in 
B-dat  (1821),  op.  403  in  A  (1825,  for  the 
coronation  of  Charles  X.)  ;  Two  requiems, 
op.  349  in  C  minor  (1816),  op.  426  in  D 
minor,  for  male  voices  (1836)  ;  7  motets,  3 
psalms,  20  autiphones,  14  detached  Kyries, 
3  do.  Sanctus,  2  do.  Credos,  2  Agnus  Dei,  2 
Glorias,  4  litanies,  2  lamentations,  1  grad- 
uale,  1  offertory,  etc.  Other  works — Vocal  : 
02  detached  airs,  48  romances,  15  nocturnes, 
14  duets,  9  terzetti,  5  detached  canons,  3 
ariettas,  2  madrigals,  2  quartets,  1  sextet,  36 
hymns,  14  choruses,  4  sets  of  solfeggi  (com- 
jjrisiug  over  160),  etc.  Instrumental  :  1 
overture,  1  symphony,  10  sonatas,  11  dances, 


11  marches,  7  Pas  redoubles,  6  quartets,  in 
E-flat,  C,  D,  E,  F,  and  A  minor,  1  quintet, 
in  E  minor,  1  minuet,  1  chacoune,  1  fantasia 
for  piimoforte,  1  capriccio  for  do.,  etc. 
— Adam,  Derniers  Souvenirs,  i.  237  ;  Arnold, 
Luigi  Cherubini ;  Seine  kurze  Biographie, 
etc.  (Erfurt,  1809);  Bellasis,  Cherubini, 
(London,  1874) ;  Berlioz,  Memoires  (Paris, 
1878),  i.  44,  103,  309,  318 ;  Biographie  des 
Hommes  vivants  (Paris,  1816-17)  ;  Biogra- 
phie universelle  et  portative  des  Coutem- 
porains  (ib.,  1834) ;  Botte  de  Toulmon, 
Notice  des  Mauuscrits  autograjjhes,  etc. 
(ib.,  1843)  ;  Castil-Blaze  (notice  in  Diction- 
naire  de  la  Conversation,  ib.,  1834) ;  do.  (in 
Theatres  Lyriques  de  Paris,  ib.,  1855) ; 
Choron  et  Fayolle,  Diet.  hist,  des  ]\Iu- 
sieiens  (ib.,  1810-17)  ;  Clement,  Les  Mu- 
siciens  celebres,  225  ;  Denne-Baron,  Che- 
rubini, sa  vie,  etc.  (Paris,  1862) ;  Elwart, 
Hist,  de  la  Societe  des  Concerts  (ib.,  1860) ; 
Gamucci,  Intorno  alia  vitaed  alle  opere  di  L. 
Ch.  (Florence,  1869)  ;  Girod,  De  la  Musique 
religieuse  (Namur,  1855)  ;  Halevy,  fttudes 
sur  la  vie,  etc.  (Paris,  1845)  ;  The  Har- 
monicon  (London,  1825),  167  ;  Lomenie, 
Cherubini,  par  un  liomme  de  rien  (Paris, 
1841)  ;  Miel,    Notice   sur   la  vie,  etc.   (ib., 


CHESHIRE 


1835)  ;  do.  (ib.,  1842)  ;  The  MusicalWoild 
(Loudon,  1862)  ;  Nisard,  Notice  (Paris, 
1867)  ;  Piccbianti,  Notizie  sulk  vita,  etc. 
(]\Iilan,  1843,  Florence,  1844) ;  Place,  Essai 
sur  la  Composition,  etc.  (Paris,  1842)  ;  Ra- 
oul-Rocbette,  Notice  bistorique  (ib.,  1843). 

CHESHIRE,  JOHN,  born  in  Birming- 
ham, England,  March  28,  1839,  still  living, 
1888.  Harpist,  pupil  of  the  Roj'al  Academy 
of  Music  in  1852-5.5,  afterwards  of  George 
Alexander  Macfarren  and  John  Balsir  Chat- 
terton.  He  became  harpist  at  the  Roj'al 
Italian  Opera  in  1855,  and  at  Her  Majesty's 
Theatre  in  1865  ;  was  principal  harpist  at 
the  Grand  Opera,  Rio  Janeiro,  in  1858-61, 
and  made  a  concert  tour  through  Norway 
in  1879.  Works :  Sis  romances  for  the 
harp  (1855)  ;  Serenade,  Don  Quixote,  for 
do.  ;  Album  of  Harp  (24  pieces)  ;  Miscella- 
neous music  for  the  harp  ;  The  Buccaneers, 
cantata  for  four  voices  and  orchestra  (1866) ; 
The  King  and  the  Maiden,  do.,  performed 
1866  ;  Diana,  opera  (1860)  ;  Overtures  for 
orchestra  in  B-flat,  D,  and  F  minor  ;  Piano- 
forte music,  and  songs. 

CHESSI,  LUIGI,  Italian  dramatic  com- 
po.ser,  author  of  the  following  works  :  La 
nuova  pianella  perduta  nella  neve,  oi^eretta 
in  dialogue,  given  at  Milan,  Augusst,  1865  ; 
la  Contessa  di  Medina,  Piacenza,  April, 
18G7.— Fetis,  Supplement,  i.  177. 

CHEVAL  DE  BRONZE,  LE  (The 
Bronze  Horse),  opera-comique  in  three 
acts,  text  by  Scribe,  music  by  Auber,  first 
represented  at  the  Opera  Comique,  Paris, 
March  23,  1835.  A  fairy  plot,  scene  laid  in 
China.  It  was  amusing  in  its  day,  but  its 
scenes  have  become  trite  through  many 
imitations.  It  was  reproduced  in  four  acts, 
with  additions,  at  the  Academie  de  Mu- 
sique,  Sept.  21,  1857.  It  has  been  fre- 
quently given  in  English,  as  the  Bronze 
Horse,  since  its  production  at  Drury  Lane, 
London,  Jan.  5,  1836. 

CHEVALIER,    ,  French   composer, 

flourished  in  1587-1617.  Violinist  in  the 
private  band  of  Henri  IV.  and  Louis  XIII. 
He  is  best  known  as  a  composer  of  court 


ballets,  which  he  wrote  for  many  public  oc- 
casions. Fetis  gives  a  list  of  thirty-four  of 
these,  with  the  name  and  date,  some  of  the 
most  important  of  which  are  :  Ballet  de 
Tiretaiue,  faict  le  lundi  gras,  danse  au  Lou- 
vre, devaut  Henri  le  Grand  ;  Le  grand  bal- 
let de  Nemours,  1604  ;  Le  grand  ballet 
faict  au  mariage  de  Monsieur  de  Vendome, 
a  Fontainebleau,  1609  ;  Le  ballet  des  gens 
de  la  reine  Marguerite,  1609  ;  Le  ballet  de 
Monsieur  le  Dauphin,  Louis  XIII.,  1609  ; 
Le  recit  des  dames,  from  the  Ballet  des 
Amoureux  coutrefaits,  which  is  found  in 
Airs  de  cour  mis  en  tablature  de  luth, 
par  Gabriel  Bataille,  Paris,  1611.— Fetis  ; 
Mendel  ;  Schilling. 

CHEVALIER  LUBIN,  LE,  opera-co- 
mique  in  one  act,  text  by  Michel  Carre  and 
Victor  Perrot,  music  by  Adrien  Boieldieu, 
represented  at  the  Theatre  des  Fantaisies 
Parisiennes,  Paris,  May  23,  1866.  The 
Chevalier  de  Simiane,  in  love  with  the  Com- 
tesse  Rosiue,  who  has  ordered  her  gates 
closed  against  him,  disguises  himself  as  a 
peasant  and  hires  himself  out  to  her  as  a 
gardener.  The  Marquis  de  Beautreillis,  her 
kinsman,  seeks  to  amuse  himself  by  ex- 
changing clothes  with  the  false  Lubin,  who 
plays  the  part  of  a  gentleman  so  dextrously 
as  to  win  the  heart  of  the  Comtesse.  The 
music  is  agreeable  and  ap2)ropriate  to  the 
text. 

CHEVALIER  NAHEL,  LE,  French  opera 
in  three  acts,  music  by  Litolff,  represented 
at  Baden-Baden,  Aug.  10,  1863.  Scene  in 
the  Thirty  Years'  War.  The  Chevalier  Na- 
hel  is  a  corrupt  genius  who  plays  the  part  of 
a  traitor,  and  whose  death  serves  as  the  de- 
nouement of  the  piece.  It  contains  some 
good  numbers,  and  the  music  generally  is 
well  adapted  to  the  libretto. 

CHEVILLARD,  PIERRE  ALEXANDRE 
FRANCOIS,  bornat  Antwerp,  Jan.  15, 1811, 
still  living,  1888.  Virtuoso  on  the  violon-' 
cello,  first  instructed  in  his  native  city,  then 
pupil  of  Norblin  at  the  Conservatoire  of 
Paris,  won  the  second  prize  in  1826,  and 
the    first    in    1827 ;    studied    composition 


810 


CHTARA 


under  Futis,  became  solo  violoncellist  at 
the  Thi'atre  du  Gymnase,  and  in  1831,  at 
the  Theatre  Italien.  Having  formed  a 
quartet  to  play  the  last  productions  of 
Beethoven's  genius,  he  made  a  concert  tour 
through  Germany  in  1855  and  1856,  win- 
ning much  applause.  In  1859  he  became 
professor  at  the  Conservatoire.  Works : 
Concerto  for  violoncello  and  orchestra ; 
Quartet  for  two  violins,  viola,  and  violon- 
cello ;  15  melodies  for  violoncello  and  or- 
chestra or  pianoforte  ;  Fantaisie  for  violon- 
cello and  pianoforte  ;  Lamenti,  adagio  and 
finale,  for  do.  ;  Andante  and  Barcarole,  with 
quartet  and  pianoforte  ;  Method  for  violon- 
cello.— Fetis  ;  Mendel. 

CHIARA  DI  ROSEMBERG,  Italian  opera 
in  two  acts,  text  by  Gai'tauo  Rossi,  music 
by  Luigi  Ricei,  first  represented  at  Milan, 
1831,  and  then  at  the  Theatre  Italien,  Paris, 
Nov.  6,  1833.  Subject  from  "  Siege  de  La 
Rochelle,"  by  Mnie  de  Genlis.  It  had  been 
treated  previously  by  Generali,  in  1821. 

CHIARELLI,  ANDREA,  born  in  Mes- 
sina, Sicily,  about  1675,  died  there  in  1699. 
Lutist  and  instrumental  composer  ;  stud- 
ied music  at  Rome  and  Naples,  where  he  be- 
came a  proficient  on  the  archlute.  When 
he  returned  to  his  own  city,  he  was  received 
with  honour,  and  devoted  the  rest  of  his  life 
to  the  jjerfecting  of  his  instruments.  He 
constructed  several  theorbos  and  archlutes 
on  new  principles,  which  are  yet  considered 
the  best  ever  made.  Fetis  had  one  of  these 
in  his  collection,  with  the  date,  1098. 
Works :  Suouate  musicali  di  violini,  or- 
gano,  violone,  ed  arciliuto  (Naj)les,  1699). 
—Fetis  ;  Mendel. 

CHIARINI,  PIETRO,  born  in  Brescia, 
Italy,  in  1717,  died  (?).  Harpsichordist  and 
dramatic  composer,  author  of  the  following 
woi'ks  :  L'  Achille  in  Sciro,  given  in  Brescia, 
1739  ;  Statira,  Teatro  di  S.  Giovanni  Chry- 
sostomo,  Venice,  171:'2  ;  Meride  e  Seliuunte, 
Brescia,  1744  ;  Argenide,  ib.,  1745. — Fetis ; 
Mendel. 

CHIAROMONTE,  FRANCESCO,  born 
at  Castrogiovauni,  Sicily,  in  1814,  died  at 


Brussels,  Oct.  15,  1886.  Dramatic  com- 
poser, pupil  at  Palermo  of  Pragusa  and 
Raimondi,  then  at  Naples  of  Donizetti. 
He  abandoned  law  for  music,  and,  gifted 
with  a  tine  voice,  entered  the  royal  chapel 
at  Palermo,  whence  King  Ferdinand  II.  in- 
vited him  to  Naples  ;  about  1844  he  brought 
out  his  first  opera,  and  soon  after  became 
conductor  of  the  orchestra  at  the  Teatro 
San  Carlo,  and  professor  of  singing  at  the 
Conservatorio.  Imjjlicated  in  the  revo- 
lutionary distui-bances  of  1848,  he  was  im- 
prisoned for  twenty-two  months,  and  exiled 
in  1850,  when  he  went  to  Genoa  and 
brought  out  several  oj^eras.  In  or  about 
1855  he  went  to  Paris,  where  he  became 
chef  du  chant  at  the  Theatre  Italien,  and 
afterwards  at  the  Italian  Opera  in  London. 
In  1862  he  settled  at  Brussels  to  teach  vocal 
music,  and  became  professor  at  the  Con- 
servatoire in  1871.  Works — Operas:  Feni- 
cia,  given  at  Naples,  Teatro  del  Fondo,  1844  ; 
Catarina  di  Cleve,  ib.,  Teatro  San  Carlo, 
1850 ;  Armando  il  gondoliere,  Genoa,  Teatro 
Carlo  Felice,  1851  ;  Giovanna  di  Castiglia, 
ib.,  1852  ;  Manfredo,  Trieste,  1853 ;  Le 
nozze  di  Messina,  Venice,  Teatro  Fenice, 
1853  ;  Ines  di  Mendoza,  Milan,  Scala,  1855  ; 
Fingal,  1855 ;  Una  burla  per  correzioue, 
Genoa,  Teatro  Paganini,  1855  ;  Mass,  per- 
formed at  Sainte-Gudule,  Brussels  ;  Hiob, 
biblical  opera,  ib..  Conservatoire,  1884.  He 
also  published  a  Methode  de  chant  in  three 
parts. — Fetis,  Supplement,  i.  178  ;  Riemann. 

CHIAULA,  MAURO,  born  in  Palermo, 
about  the  middle  of  the  16th  century,  died 
in  1600.  Benedictine  monk  of  the  convent 
of  S.  Martino,  of  that  city  ;  composer  of 
church  music.  Works :  Sacrse  cantiones, 
quae  octo,  turn  vocibus,  tum  variis  iustru men- 
tis concinni  possunt  (Venice,  1590). — Fetis  ; 
Mendel. 

CHIAVACCI,  MNCENZO,  born  in  Rome 
in  1760,  died  in  Warsaw  in  1815.  Dramatic 
composer,  first  known  through  his  operas 
produced  in  Milan.  In  1801  he  was  di- 
rector of  the  Opera  Bouife  in  Warsaw. 
Works — Operas :    Alessaudro    nell'    Indie, 


311 


CHIEN 


given  in  Milan  about  178G  ;  II  tilosofo  im- 
postore,  ib.,  about  ISOl  ;  Quattro  jjarti  del 
mondo.  Besides  these  he  published  twelve 
Ariette  per  il  clavicembalo  (Vienna,  1799). 
— Fetis  ;  Mendel. 

C'HIEN  DU  JAEDINIER,  LE  (The  Gar- 
dener's Dog),  opera- coinique  in  one  act,  text 
by  Lockroy  and  Cormon,  music  by  Albert 
Grisar,  represented  at  the  Opera  Comique, 
Paris,  Jan.  16,  1855.  Plot  original,  illus- 
trating the  caprices  of  a  village  coquette. 
The  score  is  one  of  the  composer's  best 
works. 

CHILCOT,  THOJUS,  organist  of  the 
Abbey  Church  at  Bath  from  1733  until  late 
in  the  last  centurj'.  He  was  the  composer 
of  two  sets  of  concertos  for  the  harpsichord 
and  of  Twelve  English  Songs,  the  words  by 
Shakespeare  and  other  celebrated  poets. 
He  was  the  first  master  of  Thomas  Liuley. 
— Grove  ;  Fetis  ;  Mendel. 

CHILD,  WILLLIM,  born  in  Bristol, 
England,  in  1606, 
died  in  Windsor, 
March  23,  1697. 
(Jrganist  and 
church  composer ; 
Mus.  Bac,  Oxford, 
1631 ;  Mus.  Doc, 
1G63.  He  was 
chorister  of  Bris- 
tol Cathedral  un- 
der Elway  Beviu, 
organist  of  St.  George's  Chapel,  Windsor, 
in  1632,  and  afterwards  of  the  Chapel  Royal. 
Some  of  his  church  services  and  anthems 
are  printed  in  the  collections  of  Boj-ce  and 
Arnold,  in  Smith's  "Musica  Antiqua,"  and 
man}'  more  are  extant  in  manuscript  in  the 
choir  books  of  various  cathedrals.  Works  : 
Choice  Musick  to  the  Psalms  of  David  for 
three  voices,  with  a  continuall  Base,  either 
for  the  organ  or  theorbo  (1656) ;  Divine 
anthems  and  vocal  compositions  to  several 
pieces  of  Poeti-y  ;  Catches  in  Hilton's  Catch 
that  Catch  Can  (1652) ;  Playford's  Musical 
Companion  (1672),  and  some  compositions 
on  Court  Ayres. — Grove  ;  Fetis ;  Mendel ; 


Barrett,    English   Church   Composers,   69 ; 
Harmonicon  (1832),  192. 

CHILDREN  IN  THE  WOOD,  THE, 
English  opera,  music  by  Samuel  Arnold, 
represented  at  the  Haymarket  Theatre, 
London,  in  1793. 

CHILPERIC,  oi)era-bou£fe  in  three  acts, 
text  and  music  by  Herve,  represented 
at  the  Folies  Dramatiques,  Paris,  Oct.  24, 
1868. 

CHI  m  FRENA.     See  Lucia. 

CHIMfiNE.     See  Cid. 

CHINELLI,  GIOVANNI  BATTISTA,  It- 
alian composer  of  the  17th  century,  whose 
history  is  not  known.  He  was  the  author 
of  the  following  works,  quoted  by  Walther, 
in  his  Musical  Lexikon  :  Conzertirende  Mes- 
sen,  von  3,  4,  und  5  Stimmen,  nebst  2  Vio- 
linen  a  bene  placito,  1  Th. ;  Idem,  2  Th.; 
Idem,  3  Th. ;  Motetti  a  voce  sola  (1630)  ; 
Madrigali  a  2,  3,  4,  con  alcune  canzonette 
a  due  violini,  lib.  1,  op.  4.  ;  Complete,  Anti- 
foue,  Letanie  della  B.  V.,  concertate  a 
quattro  voci  e  due  violini,  op.  6  (Venice, 
1639)  ;  II  quarto  libro  de'  Motetti  a  2  e  4 
voci  con  violini,  0)5.  9  (ibid.,  1652). — Fetis; 
Mendel. 

CHINZER,  JOHANN,  German  composer 
of  the  18th  century.  Little  is  known  of 
him  excepting  that  he  lived  in  1754  in 
Paris,  where  he  published  the  following 
works  :  Un  livre  de  sonates  pour  deux  vio- 
lons  ;  Trois  livres  de  sonates  en  trios  pour 
violon  ;  Un  livre  de  sonates  jJour  la  flute 
seule  ;  Deux  livres  de  sonates  pour  deux 
violoncelles.  Fetis  thinks  he  may  be  the 
same  as  the  Chinzer  who  published  some 
music  in  London  with  the  title  :  Un  ceuvre 
de  duos  pour  deux  violons,  en  2  suites 
(Preston,  London,  1791). — Fetis  ;  Mendel. 

CHIOCCHETTI,  PIETRO  \7NCENZ0, 
born  at  Lucca  in  1680,  died  Feb.  2,  1753. 
Dramatic  composer.  Among  his  works  are  : 
L'  ingratitudine  castigata,  ossia  1'  Alarico, 
opera,  produced  at  Ancona,  in  1719  ;  and  La 
Circoncisione,  oratorio,  Venice,  1729. — Fe- 
tis ;  do.,  Supplement,  i.  180  ;  Mendel ;  do., 
Erganz.,  63. 


CIIIPP 


CHIPP,  EDMUND  THOMAS,  born  in 
London,  Dec.  25,  182:5,  died  at  Nice,  Dec.  17, 
1886.  Organist  and 
violinist,  son  of  Thomas 
Paul  Cliipp,  harpist 
(1793-1870);  pupil  at 
the  Chapel  Royal  of 
William  Hawes,  and 
studied  the  violin 
under  J.  B.  Nadaud, 
and  Tolbecque  (1832- 
40).  He  was  organist 
of  manj'  churches,  inchiding  Holy  Trinity, 
Paddiugton,  in  1856-G2,  St.  George's,  Bel- 
fast, 1862-66,  and  of  Ely  Cathedral  from 
1866  until  his  deatli.  Mus.  Bac,  Cam- 
bridge, 1859  ;  Mus.  Doc,  1860.  Mr.  Chipp 
was  one  of  the  best  of  English  organists, 
and  his  works  are  in  constant  use  in  the 
British  churches.  He  was  a  member  of 
Her  Majesty's  private  band  (1843-55),  and 
of  the  Royal  Italian  Opera,  the  Philhar- 
monic, and  the  Sacred  Harmonic  Society 
bands,  a  member  of  the  Royal  Society  of 
Musicians,  and  an  examiner  at  the  Univer- 
sity of  Cambridge  and  at  Trinity  College, 
Loudon.  Works  :  Job,  oratorio,  1858  (No- 
vello  &  Co.) ;  Naomi,  sacred  idyl,  1868 
(Novello  &  Co.).  Church  Music:  Services 
in  A,  D,  and  E  ;  Anthems — Lord  of  all 
power.  The  Lord  hath  been  mindful.  As  I 
live,  saith  the  Lord  (Novello  &  Co.) ;  3 
Glorias  ;  Music  for  the  Church  Service  and 
Home  Circle  ;  Hymns,  etc.  Organ  INIusic : 
Introduction  and  variations  on  Handel's 
"The  Harmonious  Blacksmith,"  1843  ;  do. 
ou  Haydn's  "  God  preserve  the  Emperor," 
Birmingham  Festival,  1847 ;  24  sketches 
for  organ;  14  compositions  for  do.;  Many 
studies  and  arrangements.  Pianoforte  mu- 
sic ;  Songs,  etc. 

CHITI,  GIROLAMO,  Italian  church  com- 
poser of  the  Roman  school,  born  aljout  the 
end  of  the  17th  century.  He  was  made 
second  maestro  di  cappella  of  San  Gio- 
vanni in  Laterano  in  1726,  as  coadjutor  to 
Gasparini,  whom  he  succeeded  in  1727. 
Works  ;  Mass  for  four  voices,  Fuge  dilecte  ; 


do.,  Tempus  est  breve ;  jMissa  de  Feria  ; 
Mass  for  six  voices ;  do.  for  eight ;  Bene- 
dictus  for  holy  week  ;  2  Christus  factus  est ; 
2  Miserere  for  four  voices  ;  Veni,  Sponsa 
Christi  for  four  voices  ;  Sub  tuum  presi- 
dium, for  do.  ;  Dextera  Domini,  for  do.  ; 
Salvator  muudi  for  eight  voices. — Fctis ; 
Mendel. 

CHI  TI  SALVA.     See  Aida. 

CHMELENSKt,  WENZEL,  born  at  Ba- 
vorov,  Bohemia,  in  1736,  died  there  in 
1793.  Organist  in  his  native  place,  where 
his  numerous  works  are  still  preserved  in 
the  choir  archives.  His  sons,  Franz  (1775- 
1803),  and  Johann  (1778-1864),  were  also 
composers,  the  former  of  church  music,  the 
Latter  of  Bohemian  national  songs. — Men- 
del. 

CHOICE  OF  HERCULES,  musical  in- 
terlude, music  by  Handel,  given  at  Coveut 
Garden,  London,  March  1,  1751.  The  score 
is  dated  at  the  beginning,  June  28,  1750, 
and  at  the  end,  July  5,  1750.  It  embodies 
nearly  all  the  music  of  an  earlier  dramatic 
piece  with  different  words,  called  Alceste, 
published  by  Arnold,  1790,  under  the  title 
of  Alcides,  which  was  never  performed. 
The  libretto,  founded  on  an  episode  related 
by  Xenophon,  is  compiled  from  Joseph 
Spence's  "  Polymetis."  The  characters  rep- 
resented are :  Pleasure,  Virtue,  Hercules, 
Chorus  of  attendants  on  Pleasure,  Chorus 
of  do.  on  Virtue.  Published  first  by 
Walsh  ;  in  full  by  Hilndelgesellschaft 
(Leipsic,  1864).— Rockstro,  Handel,  319  ; 
Schoelcher,  Handel,  318. 

CHOLLET,  LOUIS  FRANCOIS,  born 
in  Paris,  July  5,  1815,  died  there,  March 
21,  1851.  Organist  and  pianist,  pupil  at  the 
Conservatoire,  of  Zimmerman  on  the  piano- 
forte, and  of  Benoist  on  the  organ,  for 
which  he  obtained  the  first  prize  in  1833. 
He  was  organist  in  several  churches  of 
Paris.  His  compositions  consist  of  fantai- 
sies,  rondos,  variations,  duos,  etc. — Fetis. 

CHOPIN,  (FRANgOIS)  FREDERIC, 
born  at  Zela  Zowa  Wola,  near  Warsaw, 
March  1,  1809,  died  in  Paris,  Oct.  17, 1849. 


313 


cHOPm 


Joseph  Eisner. 


His  fatlier,  Nicolas  Chopiu,  was  a  Frencli- 
man,  born  at  Nancj-,  who  went  to  Warsaw 
as  private  tutor,  became 
professor  at  the  War- 
saw Lycee,  and  after- 
wards set  up  a  jjrivate 
school  of  his  own. 
Frederic's  mother,  Jus- 
tine Kryzanowska,  was 
a  Pole.  He  was  edu- 
cated at  his  father's 
school,  and  studied  mu- 
sic under  Zywny  and 
His  earliest  comjjositions 
were  dances.  At  nineteen  he  was  already 
a  virtuoso  of  the  first  rank.  In  1828  he 
set  out  for  Paris,  giving  concerts  on  the 
way  at  Vienna  and  Munich.  In  Paris  he 
almost  immediately  became  the  centre  of 
a  circle  of  admirers,  among  the  most  ar- 
dent of  whom  was  Liszt.  He  led  a  re- 
tired life,  teaching  and  composing,  but 
rarely  jilaying  in  public.  In  1836  he  made 
the  acquaintance,  through  Liszt,  of  George 
Sand,  an  event  which  had  a  considerable 
influence  on  his  future.  Contrary  to  the 
generally  received  idea,  he  enjoyed  per- 
fectly good  health,  although  not  of  a  robust 
jihj-sique,  until  1838,  when  bronchitis  de- 
clared itself,  and  he  went  with  George  Sand 
to  j)ass  the  winter  in  Majorca.  His  liaison 
with  her  lasted  until  about  1846,  when  she, 
after  putting  him  into  her  novel  "  Lucrezia 
Floriaui  "  as  Prince  Karol  (a  total  distortion 
of  his  character),  got  tired  of  him.  Saving 
his  visit  to  Majorca,  a  short  visit  to  London 
in  1848,  where  he  gave  two  jjrivate  con- 
certs, and  an  equally  short  one  to  England 
and  Scotland  in  1849,  he  never  left  Paris. 
He  was  buried  at  P6re-la-Chaise,  between 
the  graves  of  Bellini  and  Cherubini.  Schu- 
mann has  called  Chopin  "  the  boldest  and 
proudest  spirit  of  the  times."  During  his 
lifetime  he  was  too  often  looked  upon  as 
merely  a  gifted  amateur  ;  but  he  was  really 
a  musician  of  very  sound  training  and  a 
subtile  harmonist.  As  a  composer,  he  was 
not  only  original,   but  absolutely  unique  ; 


he  wrote  almost  entirely  for  the  pianoforte, 
and  his  compositions  have  never  been 
equalled  in  the  way  in  which  they  are 
adapted  to  the  peculiar  character  of  that  in- 
strument. Everything  he  wrote  seemed  to 
be  inspired  by  the  very  nature  of  the  piano- 
forte itself.  His  best  known  works  are  his 
mazurkas  and  nocturnes,  but,  to  learn  his 
true  greatness,  one  must  turn  to  his  con- 
certos,  scherzos,   and   ballades.     Liszt  al- 


ways called  his  B  minor  sonata  his  greatest 
work.  As  a  pianist  he  was  noted  for  im- 
mense brilliancy,  consummate  grace,  and 
the  most  appealing  depth  of  sentiment ; 
but  also  for  a  capriciousness  in  tempo  and 
rhythm  which  led  Berlioz  to  say  :  "Chopin 
ill  endured  the  curb  of  musical  time,  and 
in  my  opinion,  j^ushed  rhythmic  independ- 
ence much  too  far  ...  he  could  not 
play  regularly."  Works :  2  Concertos,  in 
E  minor,  op.  11,  in  F  minor,  op.  21  ;  Al- 
legro  de  Concert,   op.   46  ;  4  Ballades,  op. 

23,  38,  47,  52  ;  Barcarolle,  op.  60  ;  Berceuse, 
op.  57  ;  Bolero,  op.  19  ;  Duo  concertant 
(with  Franchomme)  ;  3  Ecossaises,  op.  72  ; 
12  Grandes  Etudes,  op.  10  ;  12  Etudes,  op. 
25  ;  3  do.;  4  Fantaisies,  op.  13,  49,  61,  66  ; 
3  Impromptus,  op.  29,  36,  51  ;  Krakowiak, 
grand  Kondeau  de  Concert,  op.  14  ;  Marche 
funi'bre,  op.  72  ;  52  Mazurkas,  op.  6,  7,  17, 

24,  30,  33,  41,  50,  56,  59,  63,  67,  68  ;  19 
Nocturnes,  op.  9,  15,  27,  32,  37,  48,  55,  62, 

72  ;  12  Polonaises,  op.  3,  22,  26,  40,  44,  53, 
61,  71  ;  24  Preludes,  op.  28 ;  Prelude,  op. 
45  ;  5  Rondos,  op.  1,  5,  14  (Krakowiak),  16, 

73  (for  2  pianofortes) ;  4  Scherzos,  op.  20, 
31,  39,  54  ;  4  Sonatas,  op.  4,  35,  58,  65 
(with  violoncello)  ;  Tarentelle,  op.  43  ;  Trio 
for  pianoforte,  violin,  and  violoncello,  op. 
8 ;  13  Valses,  op.  18,  34,  42,  64,  69,  70  ; 
Variations  (La  ci  darem  la  mano),  op.  2  ; 
(Je  vends  des  scapulaires),  op.  12  ;  do.  on  a 
German  national  air  (posth.) ;  Variation 
dans   I'Hexameron  :    Morceau   de    concert. 


314 


CHORAL 


etc.,  sur  la  Marclie  des  Puri tains  de  Bel- 
lini ;  Sixteen  Polish  songs,  for  a  voice, 
with  pianoforte,  op.  74. — Barbedette,  Chopin 
(Paris,  1869)  ;  Ehlert,  Aus  der  Tonwelt 
(Leipsic,  1882)  ;  Fetis ;  Huefter,  in  Fort- 
nightly Review  (1877),  xviii.  377  ;  Larousse  ; 
Liszt,  F.  Chopin  (Paris,  1852)  ;  Karasowski, 
Friedrich  Chopin,  seiu  Leben,  etc.  (Dresden, 
1877)  ;  Mendel  ;  Sowiuski ;  Theinatisches 
Verzeichniss  (Leijisic,  Breitkopf  &  Hiirtel). 

CHORAL  FANTASIA.     See  Fantasie  mit 
Chor. 

CHORAL   SYMPHONY.     See    Sinfonie 
mit  Schlusschor. 

CHORON,  ALEXANDRE  ETIENNE, 
born  in  Caen,  Oct.  21,  1771,  died  in  Paris, 
June  29,  1834.  Composer  and  critical 
writer ;  at  first  self-taught  in  music,  but 
subsequently  a  jjupil  of  Rose  in  harmony 
and  of  Bonesi  and  other  Italian  professors. 
He  published  in  1804  Principes  d'accom- 
pagnement  des  Ecoles  d'ltalie,  written  with 
Frocchi,  and  in  1808  Priucipes  de  compo- 
sition des  Ecoles  d'ltalie  (3  vols.),  through 
which  he  introduced  into  France  Sala's 
practical  e.Kercises  in  fugue  and  counter- 
point, Marpurg's  treatise  on  fugue,  exer- 
cises from  Padre  Martini's  Esemplare,  and 
a  new  system  of  harmony  of  his  own.  He 
was  director  of  the  music  of  the  Fetes  pvih- 
liques  from  1812  to  the  fall  of  Napoleon, 
director  of  the  Academie  Royale  de  Mu- 
sique  in  1816-17,  and  founder  of  a  school 
of  music  which  became  famous  under  gov- 
ernment support  in  1824-30,  under  the  title 
of  Institution  Royale  de  Musique  Classique 
et  Religieuse,  and  in  which  many  noted 
musicians  were  educated.  He  composed 
some  music,  but  his  best  title  to  fame  is 
the  influence  which  he  exercised  on  musical 
education  in  France.  Works  :  Collection 
de  romances  et  autres  poosies  raises  en  mu- 
sique (Paris,  1806) ;  Notes  fran9aises  et 
italiennes  sur  Leo,  Jommelli,  Pierluigi  da 
Palestrina,  Josquin  Depres,  in  Collection 
generale  des  ouvrages  classiques  de  mu 
sique ;  Dictionnaire  historique  des  musir 
cieus,   Choron   et   Fayolle,   2    vols.   (1810- 


1811)  ;  Mothode  eh'mentaire  de  musique  et 
de  plain-chant  (1811)  ;  Traite  general  des 
voix  et  des  instruments  d'orchestre,  par 
Francceur,  revised  (1813)  ;  Bibliotheque 
encyclopedique  de  musique  (1814)  ;  Me- 
thode  coucertaute  de  musique  a  plusieurs 
parties,  translation  of  Albreclitsberger 
(1817)  ;  Methode  de  plain-chant  from 
tlie  same,  and  Manuel  complet  de  musique 
vocale  et  instrumentale,  ou  Encyclopedie 
musicale,  also  from  Albrechtsberger  (this 
work  was  left  unfinished,  and  published  by 
his  assistant,  Adrien  de  la  Faye,  after  his 
death,  6  vols.,  2  vols,  of  examples  (Paris, 
1836-38).  Besides  these  he  published  : 
Livre  choral  de  Paris,  etc.  (1817) ;  Me- 
thode concertante  de  musique  (1817) ;  Me- 
thode de  plain-chant  (1818)  ;  Instruction 
abreg6e  (1819)  ;  Methode  de  chant  (1821) ; 
Chants  chorals  des  Eglises  d'Allemagne 
(1822)  ;  Hymues  pour  toutes  les  fetes  de 
I'annee  ;  Messe  a  3  voix  sans  accompagne- 
ment.  Dixit  Dominus,  Magnificat,  Laudate, 
15  motets,  and  other  church  music. — Fetis  ; 
Gauthier,  Eloges  (Caen,  1845)  ;  A.  de  la 
Faye,  Eloges  (Paris,  1843) ;  Grove. 

CHOTAS,  max,  born  at  Chotesan,  Bo- 
hemia, May  8,  1831,  still  living,  1888.  Or- 
ganist, pupil  in  Prague  of  Josef  Krej6i, 
Franz  Blazek,  and  Pitsch  on  the  organ,  and 
of  Horak  in  singing  ;  went  as  choir-master 
to  Temesvar,  Hungary,  in  1855,  and  in  the 
same  capacity  has  been  at  Pelhrimov,  Bohe- 
mia, since  1862.  Among  his  compositions 
are  several  masses,  graduals,  offertories, 
hymn  for  mixed  chorus  and  orchestra,  and 
many  choruses  for  male  and  mixed  voices. 
—Mendel. 

CHOTEK,  FRANZ  XAVER,  born  at 
Liebisch,  Moravia,  Oct.  22,  1800,  died  in 
Vieinia,  May,  1852.  Composer,  pupil  in 
Vienna  of  Henneberg  and  of  Secbter. 
Works  :  Potpourris  sur  des  motifs  de  I'As- 
sedio  di  Calais  de  Donizetti  (Milan,  Ri- 
cordi) ;  Beautes  des  operas  de  Bellini  (ib.)  ; 
Rimembranze  delle  laguue  (ib.)  ;  Antho- 
logie  musicale,  fantaisies  sur  les  motifs  fa- 
voris  d'operas  nouveaux  (ib.) ;  Rondinetto  ; 


CllOUDENS 


Variations  brillantes  in  E-flat  ;  Rondino 
bi-illaut ;  La  gaite,  rondo  for  two  and  four 
hands ;  Marclie  courageuse,  and  many  others. 
—Mendel ;  Scliilling  ;  Wurzbach. 

CHOUDENS,  ANTONY,  boru  in  Paris  in 
1849,  still  living,  1888.  Dramatic  composer, 
son  of  the  music  publisher.  He  published 
a  collection  entitled  Dix  melodies,  one  of 
which,  Uu  dernier  baiser,  became  well 
known  (1870),  and  later  grew  into  Vingt 
melodies  (1873).  Of  these,  one,  A  uue 
etoile,  with  orchestral  accompaniment,  was 
sung  at  the  Concerts-Danbt'.  He  lias  writ- 
ten the  music  of  an  opera,  Graziella,  to  the 
libretto  of  Jules  Barbier  ;  another.  La  jeu- 
nesse  de  Don  Juan,  to  a  poem  of  Louis 
Gallet ;  and  has  published  pieces  for  piano- 
forte, and  several  Essais  symphouiques. 
— Fetis,  Supplement,  i.  181. 

CHRi^TIEN,  CHARLES  ANTOINE,  one 
of  the  musicians  of  the  king's  chapel,  Pa- 
ris, about  the  middle  of  the  18th  century. 
He  published  :  Pieces  de  diftV'rents  auteurs, 
mises  en  trios  pour  les  violons  (Paris,  1751) ; 
and  produced  an  opera,  Les  Precautions 
inutiles,  at  the  Comcdie  Italieune  (1760). 
— Fetis  ;  Mendel. 

CHRISTENIUS,  JOHANNES,  German 
composer  of  the  17th  century,  born  at  Butt- 
stiidt,  Thuringia.  In  the  early  part  of  the 
century  he  was  cantor  at  the  court  of  the 
Elector  of  Saxony,  and  he  was  also  a  musi- 
cian at  Altenburg.  Works  :  Selectissima 
et  nova  cantio  quam  Valedictionis  erga  de- 
dicat  Patronis,  a6vocibus  (Jena,  1G09) ;  Mu- 
sikalisehe  Melodias  mit  i  Stimmen  gesetzt 
(1616) ;  Giilden  Venus-Pfeil,  in  welcher  zu 
finden,  newe  weltliehe  Lieder,  teutsehe  und 
poluische  Tanze  (1619)  ;  Symbola  Saxon- 
ica,  Fiirtslicher  Personen  taegliche  Gedeuk- 
spriiche  mit  3  Stimmen  gesetzt  (Leipsic, 
1620) ;  Coniplemeutum,  und  drifter  Theil 
Fest  Yud  Aposteltagiger  evangelischer 
Spriiche,  so  Melchior  Vulpius  abergangen, 
mit  4-8  Stimmen  (Erfurt,  1621)  ;  Omni- 
geni  mancherley  Manier  newer  weltliclier 
Lieder,  Paduans,  etc.  (Erfurt,  1619).— All- 
gem,  d.  Biogr.,  iv.  144  ;  Futis  ;  Mentlel. 


CHRISTIANELLI,  FILIPPO,  maestro  di 
cappella  at  Aquila,  kingdom  of  Naples,  about 
the  beginning  of  the  17th  century.  Works: 
Salmi  a  cinque  voci  (Venice,  1626). — Fetis  ; 
Mendel. 

CHRISTINA  DI  SVEZIA  (Christina  of 
Sweden),  Italian  opera,  text  by  Romani, 
music  by  Sigismuud  Thalberg,  represented 
at  the  Court  Theatre,  Vienna,  June  3,  185.5. 
The  hbretto,  from  Alexandre  Dumas's 
"Christine"  and  Laube's  "  Monaldeschi," 
illustrates  the  eccentric  career  of  Christina, 
daughter  of  Gustavus  Adoljihus,  and  Queen 
of  Sweden.  The  same  subject  is  treated  in 
Christina  di  Suezia,  music  by  Nini,  Genoa, 
1840  ;  and  by  Lillo,  Naples,  1841.  Also  in 
Christine  von  Schweden,  German  opera  in 
three  acts,  text  by  Tempeltey,  music  by 
Rederu,  given  at  the  Royal  Theatre,  Berlin, 
1860. 

CHRISTMANN,  JOHANN  FRIEDRICH, 
born  at  Ludwigsburg,  Wiirtemberg,  Sept. 
9,  1752,  died  there  May  21,  1817.  Amateur 
performer  on  the  harpsichord  and  flute. 
Educated  at  Tubingen  University,  he  be- 
came a  Lutheran  clergyman,  and  in  1783 
was  appointed  minister  in  his  native  town. 
He  published,  between  1790  and  1800, 
much  music  for  the  voice  and  for  pianoforte, 
violin,  and  flute,  highly  esteemed  in  Ger- 
man}'. His  Elementarbuch  der  Tonkust 
is  in  two  parts  with  a  book  of  examples 
(Spires,  1782,  1790).  He  arranged  a  valu- 
able collection  of  hymns  with  Knecht,  en- 
titled :  Vollstrmdige  Sammluug,  many  of 
the  hymns  being  of  his  own  composition, — 
Allgem.  d.  Biog.,  iv.  223  ;  Fetis  ;  Mendel ; 
Schilling. 

CHRISTMAS  ORATORIO,  Bach.  See 
Weihnai-hU  Oratorium. 

CHRISTO,  Frade  10 AO  DE,  born  in  Lis- 
bon, about  the  beginning  of  the  17th  cen- 
tury, died  at  Alcoba5a,  July  30,  1654. 
Church  composer  and  organist.  Machado 
quotes  the  following  works  (Bibl.  Lusit.,  ii. 
636),-,  as  the  best  known  of  his  composi- 
tions :  Texto  de  Paixoens  que  se  cantao 
em  a  Semana  Santa,  composto  a  4  vozes  ; 


CHPJSTO 


Calendas  do  Natal,  e  de  S.  Bernardo  a  4 
vozes.  These  are  all  iu  MS. — Fctis  ;  Men- 
del ;  Vasconcellos,  47. 

CHRISTO,  Fra  LUIZ  DE,  born  in  Lis- 
bon, iu  1625,  died  iu  Calcado,  iu  1693. 
Church  composer,  and  organist  of  his  con- 
vent at  Calcado.  He  left  the  following 
■works  in  MS.  :  Paixoens  dos  quatro  Evan- 
gelistas,  a  4  voces  ;  Li(;oens  de  defunctos 
motetes  e  vilhaucicos. — Fetis  ;  Mendel ; 
Vasconcellos,  48. 

CHRISTOFORUS  (Christ-bearer),  can- 
tata (legend),  jroem  by  F.  vou  Hoffnaass, 
for  baritone,  soprano,  and  alto  solos,  chorus, 
and  orchestra,  by  Joseph  Itheiuberger,  op. 
120,  written  in  1879.  Subject,  the  story  of 
the  giant  who  bears  the  infant  Christ  on  his 
shoulders  across  the  river.  Published  by 
Kistuer  (Leijisic,  1885). — UiDton,  Standard 
Cantatas,  304. 

CHRISTOPHE  COLOMB,  descriptive 
symphony,  by  Felicien  David,  first  per- 
formed in  Paris,  1847. 

CHRISTUS,  oratorio,  by  Frieddch  Kiel, 
composed  in  1874  ;  first  given  in  Berlin, 
April  4,  1874.  Given  by  the  Milwaukee 
(Wis.)  Musikverein,  1879. 

CHRISTUS,  oratorio  for  soli,  chorus,  or- 
gan, aud  full  orchestra,  by  Liszt,  finished 
in  1866.  Given  first  iu  Rome,  in  the  Sala 
Dantesca,  July  6,  1867.  The  first  part  was 
given  in  New  York  by  the  Oratorio  So- 
ciety, in  1876,  and  the  entire  work,  March  3, 
1887.  First  Part  :  Weihuachts-Oratorium. 
1,  Introduction  ;  2,  Pastorale  ;  3,  Stabat  ma- 
ter preciosa,  hymn  ;  4,  Song  of  the  Shep- 
herds at  the  manger  ;  5,  The  three  Holy 
Kings,  march.  Second  Part :  After  Epiph- 
any. 6,  The  Beatitudes  ;  7,  The  Prayer  ;  8. 
The  Foundation  of  the  Church;  9,  The 
Miracle  ;  10,  The  Entry  into  Jerusalem. 
Third  Part:  Passion  and  Resurrection.  11, 
Tristis  est  anima  mea  ;  12,  Stabat  mater  ; 
13,  O  Filii  et  Filise,  Easter  hymn  ;  14, 
Resurrexit. — Nohl  ;  Upton,  Standard  Ora- 
torios, 186  ;  Musik.  Wochenblatt  (1886), 
385,  398,  411  ;  Krehbiel,  Review  (1886-87), 
135. 


CHRISTUS,  oratorio  projected  by  Men- 
delssohn as  the  third  of  a  trilogy  with  St. 
Paul  and  Elijah,  but  left  unfinished.  The 
libretto  was  written  by  Chevalier  Bunsen 
in  1844,  but  was  much  changed  by  Mendels- 
sohn, who  began  the  comjjosition  of  the 
music  after  finishing  Elijah.  The  fragment 
consists  of  eight  numbers  of  recitatives  and 
choruses,  three  in  the  first  part,  aud  five 
in  the  second  part.  They  were  published 
soon  after  his  death  (op.  97) ;  and  were 
first  performed  at  the  Birmingham  (Eng- 
land) Musical  Festival,  Sejst.  8,  1852.  Giv- 
en by  the  Handel  and  Haydn  Society,  Bos- 
ton, May  7,  1874. 

CHRISTUS  AM  OELBERGE  (Christ  on 
the  Mount  of  Olives),  oratorio,  text  by 
Franz  Xaver  Huber,  music  by  Beethoven, 
op.  85,  composed  iu  the  summer  of  1801, 
first  performed  in  Vienna,  Ajjril  5,  1803  ; 
published  by  Breitkopf  &  Hiirtel  (Leipsic, 
1811).  The  work  023ens  with  Christ's 
praj'er  for  comfort  and  strength  ;  a  seraph 
appears,  and  with  the  chorus  of  angels 
praises  the  Redeemer's  goodness.  Christ 
and  the  seraph  in  conversation.  The  Sa- 
viour jjrays  for  deliverance  from  death,  but 
ends  by  submitting  to  the  will  of  the 
Father.  The  soldiers  appear  to  take  him  ; 
their  alia  marcia  movement  is  interrupted 
by  a  terzetto  between  Christ,  the  seraph, 
and  Peter,  whose  part  is  treated  in  the 
style  of  the  bufl'o  parlante.  The  taking  of 
Christ  ends  the  action  ui^ou  earth.  Above 
the  angels  sing  their  song  of  praise  in  motet 
form.  In  his  latter  years  the  composer  was 
of  the  opinion  that  he  had  conceived  his 
subject  too  theatrically. — Marx  (Berlin, 
1875),  i.  239;  Thayer,  "Verzeichniss,  35; 
von  Lenz,  Beethoven,  ii.  220. 

CHEOMATISCHE  FANTASIE,  a  brill- 
iant composition  in  D  minor  for  clavier  by 
Johaun  Sebastian  Bach,  followed  by  a  mas- 
terly three-voice  fugue.  It  is  one  of  the 
most  generallj'  j)lajed  of  Bach's  larger 
clavier  works. 

CHURCHILL, ,  English  composer  in 

London,  at  the  end  of  the  18th  century.    He 


S18 


ClLrSTROVIUS 


publislied  the  following  works :  '■i  sonatas 
for  pianoforte  with  violin  accompaniment ;  6 
duets  for  two  violins,  op.  2  ;  3  sonatas  for 
pianoforte,  with  violin,  op.  3  ;  0  duets  for 
violin  and  alto  (1793).— Futis  ;  Mendel. 

CHUSTKOVroS,  JOHANNES,  director 
of  the  Church  of  St.  Nicolas,  Liineburg, 
about  the  beginning  of  the  17th  century. 
Works:  Sacn«  cantiones  quinque,  sex  et 
octo  vocibus  ita  compositiB,  ut  non  solum 
viva  voce  commodissime  cantari,  sed  etiam, 
ad  omnis  generis  instrumeuta  optime  ad- 
hiberi  possint  (Frankfort,  1603).— Fetis  ; 
Mendel. 

CHWATAL,  FRANZ  XAVEE,  born  at 
Eumburg,  Bohemia,  June  19,  1808,  died  at 
Elmen,  near  Magdeburg,  June  21,  1879. 
Pianist,  first  instructed  by  his  father,  an 
organ  builder ;  appeared  in  public  when 
eight  years  of  age,  was  settled  at  Merse- 
burg  as  a  teacher  in  1822-35,  when  he 
studied  composition  by  himself,  and  after- 
wards at  Magdeburg.  He  published  about 
250  works,  mostly  for  the  pianoforte,  and 
his  two  Methods  for  the  same,  op.  93  and 
op.  135,  have  been  introduced  in  many  in- 
stitutions.— Mendel  ;  Eiemann. 

CIAJA,  AZZOLINO  BERNARDINO 
BELLA,  born  in  Siena  in  1671,  died  after 
1733  (?).  Organist  and  composer  ;  he  pre- 
sented in  1733  an  organ  to  the  Church  of 
the  Order  of  St.  Stephen,  Pisa  (of  which 
Order  he  was  a  knight),  which  is  still  one 
of  the  finest  in  Italy.  Published  works  : 
Salmi  concertati  (Bologna,  1700)  ;  Cantate 
da  Camera  (Lucca,  1701,  Bologna,  1702)  : 
Sonate  per  cembalo  (Rome,  1727).— Fetis ; 
Mendel. 

CIAMPALANTI, ,  one  of  the  musi- 


cians of  Louis  XV.  He  published  in  1764 
a  collection  entitled :  Six  Ariettes  fran- 
yoises  dans  le  gotU  Italien  avec  accom- 
pagnement  d'un  violon  et  d'une  basse, 
suivies  d'une  cantate  dctachee  a  grande 
symphonie. — Fetis,  Supplement,  i.  183. 

CIAMPI,  FRANCESCO,  born  at  Massa 
di  Sorrento,  kingdom  of  Naples,  in  1704. 
Dramatic  composer  and  violinist  ;  took  up 


his  residence  in  Venice  in  1728,  and  brought 
out  nearly  all  his  operas  there.  The  best 
known  are  :  Ouorio,  given  at  Venice,  1729  ; 
Adriano  in  Siria,  ib.,  1748  ;  II  negligente, 
ib.,  1749  ;  Catone  in  TJtica,  ib.,  1756  ;  Gian- 
guir,  ib.,  1760  ;  Amore  in  caricatura,  ib., 
1761  ;  Antigono,  ib.,  1762.  Burney  men- 
tions a  ^lass,  and  a  Miserere  for  eight  voices, 
with  instrumental  accompaniment,  which 
were  held  in  great  estimation.— Fetis ;  Men- 
del ;  Schilling. 

CIAMPI,  LEGRENZIO  VINCENZO, 
born  near  Piacenza  in  1719.  Dramatic 
composer,  pupil  of  Roudini,  maestro  di 
cappella  at  Piacenza  ;  he  went  to  London 
in  1748  with  a  company  of  Italian  singers. 
Dr.  Burney  says  he  had  great  tire  and 
ability,  but  no  genius.  Works— 0])eras  : 
L'Arcadia  in  Brenta,  given  in  Italy  about 
1739  ;  Bertoklo  alia  corte,  Piacenza,  about 
1748 ;  Gli  tre  cicisbei  ridicoli,  Loudon, 
1748  ;  Adriano  in  Siria,  ib.,  1750  ;  II  tri- 
onfo  di  Camillo,  ib.,  1750 ;  Didone,  ib., 
1754.  Published  instrumental  music,  songs, 
a  mass  (1758),  now  in  the  Royal  Library, 
Berlin.— Grove  ;  Fetis  ;  Mendel. 

CIANCHETTINI,  PIO,  born  in  London, 
Dec.  11,  1799,  died  at  Cheltenham  in  1851. 
Pianist,  son  and  pupil  of  Veronica  Cian- 
chettini;  appeared  in  public  as  an  infant 
prodigy  in  1804,  and  was  called  the  English 
Mozart  in  Holland,  Germany,  and  France, 
where  he  travelled  with  his  father  in  the 
year  following.  Afterwards  he  accom- 
panied Madame  Catalani  on  her  concert 
tour  through  England.  Works  :  2  con- 
certos for  pianoforte;  Fautaisies  for  do.; 
Variations  for  do.;  Cantata  for  two  voices 
with  chorus  (words  from  Paradise  Lost) ; 
Pope's  Ode  on  Solitude  ;  60  Italian  notturni 
for  two,  three,  and  four  voices,  with  piano- 
forte ;  Benedictus  for  three  voices  ;  etc. — 
Fetis ;  Mendel. 

CIANCHETTINI,  VERONICA,  born  at 
Czaslau,  Bohemia,  in  1779,  died  in  London 
in  1833.  Pianist,  daughter  and  pupil  of 
Johanii  Joseph  Dussek,  who  was  the  organ- 
ist and  chief  musician  of  Czaslau.     In  1797 


319 


CIANCHI 


she  -n'ent  to  Lonrlon  to  join  her  brother 
Johann  Ladislaw  Dussek,  aud  mai-ried  there 
Francesco  Cianchettini.  Among  her  works 
are  two  concertos  and  several  sonatas  for 
the  pianoforte.— Grove  ;  Fetis  ;  MendeL 

CIANCHI,  EMILIO,  born  in  Florence, 
March  21,  1833,  still  living,  1888.  Dra- 
matic composer,  pnj)il  of  Iguazio  Colson  and 
Ermanno  Picchi.  He  became  known,  when 
only  twenty-one  years  old,  by  the  perform- 
ance of  his  oratorio,  Giuditta,  1854.  Works 
— Operas  :  Salvator  Eosa,  Florence,  Teatro 
Pagliano,  185-5  ;  II  saltimbanco,  ib.,  1856  ; 
La  vendetta,  ib.,  1857  ;  Leone  Isauro,  Tu- 
rin, Teatro  Regio,  1862.  His  Requiem 
Mass,  performed  in  Santa  Croce,  Florence, 
on  the  anniversary  of  the  death  of  King 
Charles  Albert,  and  of  the  martyrs  of  Italian 
independence  (1873),  added  to  his  renown. 
He  is  secretary  of  the  Royal  Musical  Insti- 
tute and  the  Musical  Academy  at  Florence. 
— Fetis,  Supplement,  i.  183. 

CIBBINI,  KATHERINA,  born  in  Vienna 
in  1790,  died  there  in  1858.  Pianist, 
daughter  and  pupil  of  the  Bohemian  com- 
poser and  Hof-Kapellmeister  in  Vienna, 
Leopold  Kozeluh,  aud  pupil  of  Clementi. 
Works  :  Introduction  et  Valuations  (Vienna, 
Haslinger)  ;  ImjDromptu  (ib.) ;  Marche  et 
Trio  (ib.) ;  6  valses,  (ib.)  ;  etc. — Mendel; 
Schilling. 

CIBOT  (Cybot), ,  French  musician  of 

the  16th  century.  In  the  famous  collection 
of  French  chansons  for  four  voices  pub- 
lished by  Pierre  Attaignant,  about  1530, 
are  two  chansons  by  Cibot:  Ayer  ne  puis 
celle,  and,  Amye,  tu  as  sur  moi  trop. — Fetis, 
Supplement,  i.  182  ;  Mendel,  Ergiinz.,  64. 

CIBULKA,  ALOJS,  born  in  Prague,  Feb. 
22,  1768,  died  at  Totis,  Hungary,  in  1845. 
Instrumental  and  vocal  composer  ;  he 
studied  in  Prague,  became  Correpetitor  at 
the  National  Theatre  at  Gratz,  Styria,  in 
1794,  and  musical  director  of  the  Gei'man 
Theatre  at  Pesth  in  1798,  the  management 
of  which  he  assumed  in  1810.  After  his 
resignation  in  1823  he  was  made  choir-mas- 
ter of  the  parish  church.     While  living  at 


Pesth,  he  gave  lessons  to  Stephen  Heller 
in  1826.  He  may  be  looked  upon  as  the  re- 
former of  dance  music  in  Bohemia.  Pub- 
lished works  :  12  songs  from  celebrated  po- 
ets with  pianoforte  accompaniment  (Prague, 
1781)  ;  14  wedding  songs  in  German  with 
pianoforte  (Leipsic,  1793) ;  German  dance 
with  twelve  variations  (Brunswick,  1794) ; 
3  cantatas  :  Separation,  the  Spinner,  and 
the  Trials  of  Lotte,  from  Werther  (Munich, 
1798).  Many  other  compositions  are  men- 
tioned by  Fetis. — Fetis  ;  Mendel  ;  Schil- 
ling. 

CICCARELLI,  ANGELO,  born  at  Te- 
ramo,  in  the  Abruzzi,  Jan.  25,  1806,  still  liv- 
ing, 1888  (?).  Church  composer,  pupil  at 
Lanciano  of  the  organist  Filippo  Gianni, 
then  at  the  Conservatorio,  Naples,  of  Cres- 
centiui  in  singing,  and  of  Zingarelli  in  com- 
position. In  1829  he  settled  in  Dresden, 
where  he  was  much  esteemed  as  a  vocal 
teacher,  and  also  as  a  member  of  the  royal 
chou\  Works  :  Stabat  Mater  for  4  female 
voices  ;  Requiem  Mass  for  4  voices ;  Two 
Misse  di  Gloria ;  Te  Deum ;  Catherine  de 
Guise,  lyric  drama  ;  many  vocal  composi- 
tions.— Fetis,  Supjslement,  i.  183  ;  Mendel. 

CID,  LE,  the  Spanish  national  hero,  Ruy 
Diaz  da  Bivar,  called  by  his  compatriots  El 
Campeador  (The  Warrior)  aud  by  the  Moors 
El  Seid  (whence  Cid),  is  the  hero  of  several 
operas.  Italian  opera  in  three  acts,  music 
by  Sacchini,  first  represented  in  Rome, 
1762,  as  Chimena,  and  at  the  King's  The- 
atre, London,  1773,  as  II  Gran  Cid  ;  played 
with  great  success  in  Paris  at  the  Opera, 
Feb.  9,  1784,  as  Chimene,  ou  Le  Cid,  with 
a  French  adaptation  of  the  text  by  Guillard, 
and  with  Madame  de  Saint-Huberti  in  the 
principal  part.  H  Gran  Cid,  music  by  Pic- 
einni,  represented  at  Naples,  1763  ;  music 
by  Paisiello,  Florence,  about  1776.  H  Cid 
delle  Spagne,  music  by  Fariuelli,  Italy, 
about  1797.  II  Cid,  three  acts,  text  by 
Jacopo  Ferretti,  music  by  Luigi  Savj,  Parma, 
1834.  Der  Cid,  German  opera,  music  by 
Neeb,  Frankfort,  1857  ;  text  and  music  by 
Peter  Cornelius,  Weimar,   1865.     Le  Cid, 


CIERA 


French  opera,  text  by  Denuery,  Gallet,  and 
Blau,  music  by  Massenet,  represented  in 
Paris,  Dec.  1,  1885  ;  the  conijjoser's  best 
work.  Chimene,  German  grand  oijera  in 
three  acts,  music  by  Charles  Wagner,  Darm- 
stadt, 1821.  The  same  subject  is  treated  in 
liodrigo,  Itahan  ojjera,  music  by  Handel, 
Florence,  1708  ;  nuisic  by  Sapienza,  Naples, 
1823  ;  Rodrigo  und  Chimene,  German  opera, 
by  Aiblinger,  Munich,  1821 ;  Chimene  et 
Kodrigue,  French  opera,  by  Salieri,  Paris, 
1788  (not  performed) ;  Eodrigo  di  Valenzia, 
Italian  opera,  by  F.  Orlandi,  about  1815  ; 
by  Generali,  Milan,  1817 ;  Rodrigue  de  To- 
lede,  French  opera,  by  H.  Litolif,  Paris, 
about  1850  (not  performed).  Don  Rodrigo 
Diaz  da  Bivar,  der  Cid,  German  grand  opera 
in  four  acts,  text  bj'  Karl  Schmidt,  music 
by  Emil  Meyer,  Linz,  1848  ;  Cid,  music  by 
Willy  B5hme,  Dessau,  Feb.  18,  1887. 

CIERA,  IPPOLITO,  born  in  Venice  about 
1512,  died  after  1569.  Dominican  monk, 
and  com2)oser  of  madrigals  published  under 
the  following  titles  :  Madrigali  del  labirinto 
a  quattro  voci,  libro  primo  (1554,  reprint)  ; 
II  primo  libro  de'  Madrigali  a  5  voci  (Venice, 
1561).  There  are  five  other  books  of  madri- 
gals for  5  voices.  The  sixth  book  has  for 
title  :  Madrigali  a  5  voci,  libro  sesto  (Rome, 
1623).  In  a  collection  of  madrigals  which 
bears  the  title :  II  Bel  Giardino  di  fiori  mu- 
sicali  (Venice,  1587),  there  are  two  of  Ciera's 
compositions. — Fetis  ;  Mendel. 

CIFOLELLI,  GIOVANNI,  Italian  dra- 
matic composer  who  settled  in  France  about 
1764.  He  wrote  for  the  Conu'die  Italienne 
the  following  works :  L'ltalienue,  comic 
opera  in  one  act,  words  by  Framery,  1770  ; 
Pierre  et  Lucette,  1774.  He  also  published 
a  Methode  de  Mandoline  (Paris). — Fetis  ; 
Mendel. 

CIFRA,  ANTONIO,  born  in  Rome  about 
1575,  died  at  Loreto  after  1629.  A  pupil 
of  Palestrina  and  Bernardino  Nanini,  he  was 
first  maestro  at  the  German  college  at 
Rome  ;  in  1610-20"  he  occupied  a  similar 
position  at  Loreto,  and  then  for  two  years 
in  S.  Giovanni   in  Laterano,  Rome  ;   after 


which  he  entered  the  service  of  the  Ai'ch- 
duke  Charles,  brother  of  Emjaeror  Ferdi- 
nand n.  In  1629  he  returned  to  Loreto, 
where  he  remained  until  his  death.  Cifra 
was  one  of  the  leading  composers  of  the 
"  great "  Roman  school ;  like  most  of  the 
immediate  followers  of  Palestrina,  he  showed 
in  his  later  compositions  that  he  felt  the  in- 
fluence of  the  change  that  was  then  taking 
place  in  musical  feeling,  and  he  entered 
into  the  more  modern  spii-it  of  the  times 
more  thoroughly  than  might  have  been  ex- 
pected of  one  who  had  won  great  renown 
as  a  complete  master  of  the  stile  osservato. 
He  was  a  voluminous  composer,  and  many 
of  his  works  were  published.  Works :  1, 
Motetti  a  due,  tre  e  quattro  voci,  five  books 
(Rome,  Soldi,  1600-1609)  ;  2,  Salmi  per  li 
vesperi,  three  books  (Rome,  1601-1609)  ;  3, 
Salmi  e  motetti  a  8  voci  (Rome,  Zanetti, 
1610) ;  4,  Madrigali  a  cinque  voci,  three 
books  (Venice,  Vincenti,  1610-1615)  ;  5, 
Motetti  a  due,  tre  e  quattro  voci  (Venice, 
1611)  ;  6,  Salmi  spezzati  a  4  voci  (Rome, 
Robletti,  1611);  7,  Litanie  a  8-12  voci 
(Rome,  1613) ;  8,  Scherzi  ed  arie  a  1,  2,  3  e 
4  voci,  per  can  tar  nel  clavicembalo,  chitar- 
rone,  o  altro  simile  istromento  (Venice, 
1614) ;  9,  Several  sets  of  Madrigals  (Venice, 
1616-1623);  10,  Cinque  libri  di  Messe 
(Rome,  Soldi,  1619-1625) ;  11,  Ricercari  e 
cauzoni  francesi  a  4  voci  (Rome,  Soldi, 
1619) ;  12,  Motetti  a  4,  5,  6,  8  voci  (Rome, 
Robletti,  1620) ;  13,  Antifone  e  motetti  per 
tutto  r  anno  a  2,  3,  4,  5  voci  (Rome,  Gri- 
gnani,  1625) ;  14,  Motetti  e  salmi  a  12  voci, 
a  tre  cori  (Venice,  1629) ;  15,  Concerti  ec- 
clesiastici  (posthumous),  ten  sets,  contain- 
ing over  200  motets  (Rome,  Antonio  Pog- 
gioli,  1638).  The  title-page  bears  a  portrait 
of  Cifra,  tetatis  45. — Ambros,  iv.  98. 

CIGALE  ET  LA  FOURMI,  LA  (The 
Grasshopper  and  the  Ant),  animal  comic 
opera,  music  by  Edmond  Audran,  repre- 
sented at  the  Theatre  de  la  Gaite,  Paris, 
Oct.  30,  1886. 

CBIA,  ANDREA,  born  in  Milan,  about 
the  close  of  the  16th  centurj'.     Organist, 


381 


CIMA 


brother  of  Giovanni  Paolo  Cinia.  He  was 
maestro  di  cappella  of  the  Church  della 
Rosa,  and  subsequently  of  the  Church  of 
Sta.  INIaria,  Bergamo,  one  of  the  most  im- 
portant positions  of  the  kind  in  Italj'. 
Works:  Concerti  a  2,  3  e  4  voci,  lib.  1 
(Milan,  1614) ;  Concerti  a  2,  3  e  4  voci,  lib. 
11  (Venice,  1627).— Fctis ;  Mendel. 

CBIA,  ANNIBALE,  Italian  composer  of 
the  16th  century.  Several  of  his  madrigals 
ai'e  in  the  collection  entitled  :  De'  floridi 
virtuosi  d'  Italia,  il  terzo  libro  de'  madri- 
gali  a  cinque  voci  nuovamente  composti  e 
dati  in  luce.  (Vicenza,  Giacomo  Vincenti, 
1568.)— Fetis ;  Mendel. 

CIMA,  GIOVANNI  BATTISTA,  born  in 
the  latter  part  of  the  16th  century.  Organ- 
ist of  the  Church  of  S.  Nazaro,  Milan,  but 
towards  the  close  of  his  life  retired  to  Son- 
drio,  a  little  town  of  the  Valtelliua.  Works  : 
2  books  of  concerti  for  two,  three,  and  four 
parts  (Milan,  1626).  In  the  Catalogue  of 
the  Ivings  of  Portugal  are  2  of  his  books 
of  motets  for  4  voices. — Fetis  ;  Mendel. 

CIMA,  GIOVANNI  PAOLO,  born  in 
Italy  about  1570,  died  (?).  Oi'ganist,  maes- 
tro di  cappella  of  the  Church  of  S.  Celso, 
Milan.  He  is  best  known  by  his  canons, 
several  of  which  Padre  Angleria  has  in- 
serted in  his  "  Eegole  del  Contrappunto." 
Padre  Martini  gives  an  ingenious  one  as  an 
example  in  his  "  Essai  fondameutal  pratique 
de  contrepoint  fugue."  Published  works  : 
Motetti  a  quattro  (1599)  ;  Eicercate  per 
r  organo  (Milan,  1602)  ;  Canzoui,  conse- 
quenze,  e  contrappunti  doppj,  a  2,  3,  e  4 
(ib.,  1609)  ;  Concerti  ecclesiastici,  a  1,  2,  3, 
4,  e  8  voci  con  partitura  (ib.,  1610). — Fetis  ; 
Mendel. 

CIMA,  TULLIO,  born  at  Ronciglione, 
beginning  of  the  17th  century.  Church 
composer  who  published  the  following 
works  :  Sacrse  cantiones.  Magnificat,  etc., 
2,  3  et  4  vocum,  lib.  1  (1639)  ;  Sacrarum 
modulationum  2-5  vocum  concin.  liber  quar- 
tus  (Rome,  1648)  ;  Salmi,  Messa  e  Letanie 
della  B.  M.  V.  a  3  voci,  op.  7  (ib.,  1673). 
This  last  is  a  reprint. — Fetis  ;  Mendel. 


CIMADOR,  GIAMBATTISTA,  born  in 
Venice,  in  1761,  died  in  London  about 
1808.  Violinist,  violoncellist,  and  pianist  ; 
said  to  have  been  a  pupil  of  Haydn  in  com- 
position. He  produced  an  opera  :  Pimma- 
glione,  Venice,  1788,  which,  not  satisfied 
with,  he  destroyed,  renouncing  dramatic 
composition.  Cherubini  afterwards  used  the 
words  of  several  of  the  scenes  for  his  Pimma- 
glione.  Cimador  settled  in  Loudon  in  1791, 
and  became  known  by  his  arrangement  of 
Mozart's  symphonies  as  12  sextets  for  the 
King's  Theatre  orchestra.  He  wrote  some 
vocal  and  instrumental  music. — Grove  ;  Fe- 
tis ;  Mendel. 

CIMAROSA,  DO:\IENICO,  born  at 
Aversa,  near  Na- 
ples, Dec.  17, 
1749,  died  in  Ve- 
nice, April  5, 
1801.  His  pa- 
rents were  work- 
people of  the 
humblest  class  ; 
his  mother's  con- 
fessor, Padre 
Porzio,  organist 
at  a  Neajjolitan 
convent,  was  so  struck  with  the  boy's  talent 
that  he  gave  him  music  lessons,  and  finally 
agreed  to  be  responsible  for  his  entire  edu- 
cation. He  accordingly  had  him  take  sing- 
ing lessons  of  Aprile,  and  in  1761  jjut  him 
at  the  Conservatoi'io  Santa  Maria  di  Loreto, 
where  he  remained  until  1772,  studying 
composition  under  Fenaroli,  until  he  had 
acquired  that  perfect  and  elegant  style  which 
characterized  composers  taught  at  the  Na- 
ples Conservatorio  in  the  18th  century.  In 
1772  he  wrote  his  first  opera  bulfa,  Le 
stravaganze  del  conte,  and  from  this  mo- 
ment to  his  death  his  career  was  an  un- 
broken chain  of  brilliant  successes.  From 
1772  to  1780  he  lived  alternately  at  Rome 
and  Naples,  writing  twenty  operas,  among 
them  L'  Italiana  in  Londra.  In  1 780  Cima- 
rosa's  fame  was  so  well  established  that  he 
was  regarded  as  the  worthy  rival  of  Paisiello, 


CIMAKOSA 


who  Lad,  up  to  tbat  time,  occupied  the  first 
place  among  opera  composers  in  Italy. 
Cimarosa's  operas  were  given  all  over 
Europe.  In  1787  be  accei^ted  the  invita- 
tion of  Catherine  IE.,  to  come  to  St.  Peters- 
bui-g,  where  he  held  the  position  of  cham- 
ber composer  to  the  Czarina  for  several 
years.  But  the  rigor  of  the  Russian  climate 
at  last  forced  him  to  return  south,  and  in 
1792  he  succeeded  Salieri  as  court  Kapell- 
meister at  Vienna,  ou  the  invitation  of  Leo- 
pold II.  Here  he  wrote  his  famous  II  ma- 
trimonio  segreto,  which  has  always  been 
considered  his  masterpiece.  On  the  Em- 
peror's death  iu  the  same  year,  Salieri  was 
again  appointed  Kapellmeister,  and  in  1793 
Cimarosa  returned  to  Naples,  where  he  was 
welcomed  back  with  unbounded  enthusiasm. 
He  wrote  many  admirable  operas,  until  his 
strong  republican  feelings,  openly  expressed 
when  the  French  army  entered  Naples  in 
1799,  got  him  into  trouble  with  the  govern- 
ment ;  he  was  imprisoned  and  condemned 
to  death,  but  King  Ferdinand  was  prevailed 
upon  to  reprieve  him  ou  condition  of  his 
leaving  Naples.  He  set  out  for  St.  Peters- 
burg, but  got  no  farther  than  Venice,  where 
he  died  of  an  abdominal  tumor.  The 
strangest  rumors  were  current  concerning 
his  death,  the  general  opinion  being  that 
he  was  poisoned  by  order  of  the  govern- 
ment. Dr.  Giovanni  Piccioli,  by  order  of 
the  court,  published  a  cii'cular  in  which 
the  character  of  the  mortal  disease  was  set 
forth,  but  even  this  official  document  was 
not  universally  believed.  Cimarosa  is  one 
of  the  great  composers  whose  works  have 
most  unjustly  been  banished  from  the  mod- 
ern stage.  His  genius  was  of  the  finest, 
his  fertility  of  melodic  invention  positively 
astounding,  and,  unlike  most  composers 
who  have  become  especially  famous  for 
their  melodic  fecundity,  he  Avas  a  master  of 
musical  form.  To  great  skill  in  treating 
the  voice,  and  unsurpassed  grace  of  melody, 
he  added  a  rare  power  of  musical  develop- 
ment and  a  masterly  use  of  the  orchestra. 
Of   all  Italian  writers  he  most   resembled 


IMozart  ;  if  he  lacked  somewhat  of  I\Iozart's 
depth  of  sentiment,  he  fully  equalled  him 
in  humor  and  comic  force.  His  greatest 
work  was  in  opera  buffa,  yet  some  of  his 
serious  operas  still  deserve  an  honored  place 
ou  the  stage.  He  was  the  first  to  introduce 
concerted  pieces  into  the  dramatic  action 
itself.  A  bust  of  Cimarosa  was  ordered  of 
Cauova  by  Cardinal  Consalvi,  who  also  took 
charge  of  the  composer's  obsequies  ;  the 
bust  was  for  a  long  time  in  the  church  of 
La  Rotouda  (Pantheon),  at  Rome  ;  it  has 
since  been  moved  to  the  Capitol,  where  it 
now  is.  Works,  all  operas,  except  where 
otherwise  specified  :  1.  Giuditta,  oratorio, 
Rome,  1770  ;  2.  Le  stmoaganze  del  conte, 
Naples,  1772  ;  3.  Le  pazzie  di  Stellidaura  e 
Zoroastre,  ib.,  1772  ;  4.  La  fiuta  Parigina, 
Naples,  1773  ;  5.  L'  Italiana  iu  Londra, 
i  Rome,  1774  ;  0.  La  donna  di  tutti  caratteri, 
Naples,  1775  ;  7.  La  Frascatana  nobile,  ib., 
1 1776  ;  8.  Gli  sdegni  per  amore,  ib.,  1776  ; 
9.  Matrimonii  in  ballo,  ib.,  1770  ;  10.  II 
fanatico  per  gli  antichi  Romaui,  Naples, 
1777;  11.  Le  stravaganze  d' amore,  ib., 
1777;  12.  La  contessina,  Naples,  1777; 
13.  II  giorno  felice,  cantata,  1777  ;  14.  Te 
Deum,  1777  ;  15.  I  due  baroni,  Rome,  1777  ; 
16.  L'  amor  costaute,  Naples,  1778  ;  17. 
II  matrimonio  per  1'  industria,  ib.,  1778  ; 
18.  Finti  uobili,  Naples,  1778  ;  19.  L'  Ar- 
mida  immagiuaria,  Naples,  1778  ;  20.  Gli 
amanti  comici,  ib.,  1778  ;  21.  II  duello 
per  complimento,  Rome,  1779  ;  22.  II  3fa- 
triinonio  per  raggiro,  ib.,  1779  ;  23.  La 
Circe,  cantata,  1779  ;  24.  II  rilorno  di  Don 
Calandrino,  Rome,  1779  ;  25.  Litanies, 
1779 ;  26.  Cajo  Mario,  Rome,  1780  ;  27. 
H  mercato  di  Malmautile,  ib.,  1780 ;  28. 
Assalonte,  Florence,  1780  ;  29.  L'  infedelta 
felice,  Naples,  1780  ;  30.  II  faleguame,  Na- 
ples, 1780  ;  31.  L'  aviso  ai  maritati,  ib., 
1780  ;  32.  L'  amante  combattuto  dalle  don- 
ne  di  punto,  ib.,  1781  ;  33.  II  trioufo  della 
religione,  oratorio,  1781  ;  34.  Alessandro 
neir  Lidie,  Rome,  1781  ;  35.  Artaserse, 
Turin,  1781  ;  36.  II  capriccio  drammatico, 
ib.,  1781  ;  37.  II  martirio  di  Sau  Gennaro, 


CIMOSO 


Naples,  1781  ;  38.  L'  amor  contrastato,  ib., 
1782;  39.  II  whvzVo  di  pietra,  Venice,  1782; 
40.  La  ballerina  amante,  Naples,  1782  ;  41. 
Nina  e  Martufifo,  1782  ;  42.  La  villaua  ri- 
couosciuta,  Naj^les,  1783  ;  43.  Oreste,  Na- 
ples, San  Carlo,  1783  ;  44.  L'  eroe  cinese, 
ib.,  Aug.  13,  1783  ;  45.  II  jjiHore  Parigino, 
Eome,  1783;  46.  Chi  d' altrui  si  veste  presto 
si  spoglia,  Najjles,  1783  ;  47.  II  baroue  bur- 
lato,  Venice,  1784  ;  48.  L'  OHmpuuh',  Na- 
ples, 1784;  49.  Due  suppositi  couti,  Milan, 
1784;  50.  Le  statue  parlauti,  ib.,  1784  ;  51. 
Two  Masses,  of  which  one  is  a  Requiem, 
1784  ;  52.  II  marito  disperato,  Naples, 
1785 ;  53.  II  credulo,  ib.,  1785  ;  54.  La 
donna  al'  sue  peggior  sempre  s'  appiglia, 
ib.,  1785  ;  55.  Gli  amauti  alia  i^rova,  ib., 
1786  ;  56.  La  nascita  del  Delphiuo,  can- 
tata, 1786  ;  57.  Le  trame  deluse,  Naples, 
1786  ;  58.  L'  impremrio  in  angustie,  ib., 
1786  ;  59.  La  baronessa  Stramba,  ib , 
1786  ;  60.  II  sacrifizio  d'Abramo,  ib.,  1786  ; 
61.  II  Valdomiro,  ib.,  1787  ;  62.  H  fantaico 
burlato,  Naples,  1787;  63.  Le  feste  d'  Apol- 
lo, ib.,  1787  ;  64.  Gianniua  e  Bernadone, 
Naples,  1788  ;  65.  Lo  sposo  seuza  moglie, 
Naj)les,  1789  ;  66.  La  felicita  inaspettata, 
St.  Peter.sburg,  1790  ;  67.  Cleopatra,  ib., 
1790  ;  68.  Eequiem  for  the  funeral  of  the 
Duchess  of  Serra  Capriola,  ib.,  1790  ;  69. 
La  vergine  del  sole,  ib.,  1791 ;  70.  L' Atene 
edificata,  ib.,  1792;  71.  Five  hundred  sepa- 
rate pieces  for  the  Russian  Court,  ib.,  1792  ; 

72.  II   malrimonio   segreto,  Vienna,    1792 ; 

73.  La  calamita  de'  cuori,  ib.,  1793  ;  74. 
Amor  rende  sagace,  ib.,  1793;  75.  2  Dixit 
Dominus,  one  written  for  the  Emperor  of 
Austria,  the  other  for  Prince  Esterhazy,  ib., 
1793 ;  76.  I  traci  amanti,  Naples,  1793 ; 
77.  Le  astuzie  feminili,  Naples,  1794 ;  78. 
Penelope,  Naples,  1794  ;  79.  Gli  Orazj  e 
Curiazj,  Venice,  1794;  80.  II  impegno  su- 
perato,  Naples,  1795  ;  81.  I  nemici  generosi, 
Rome,  1796  ;  82.  Achille  nel  assedio  di 
Troja,  Rome,  1798 ;  83.  L'  imprudeute  for- 
tunato,  ib.,  1798  ;  84.  L'  apprensivo  rag- 
girato,  Naples,  1798  ;  85.  La  feliciti  com- 
pita,  ib.,  1798 ;   86.    Semiramide,  ib.,  1799 ; 


87.  Artemisia,  Venice,  1801.  Cimarosawas 
also  a  collaborator  with  Asioli  and   several 

other  composers  in  Le  C'inesi,  Najjles,  no 
date. — Elogio  fuuebre  estemporaneo,  etc., 
ad  onore  del  sempre  chiaro  e  celeberrimo 
scrittore  in  musica,  D.  Cimaro,sa,  etc.  (Ve- 
nice, 1801.  The  portrait  of  the  composer 
in  this  publication  was  sujDpressed  by  the 
police) ;  Fetis  ;  Grove. 

CIMOSO,  GUIDO,  bom  at  Vicenza,  Feb. 
10,  1804,  still  living,  1888.  Organist,  pupil 
of  his  father,  an  organist  (born  in  Vienna, 
1780,  died  at  Venice,  1850).  He  was  em- 
ployed successively  in  different  cities  as  or- 
ganist and  orchestra  conductor,  and  settled 
at  Trieste,  where  he  occupied  a  position  of 
great  artistic  importance.  Among  about 
one  hundred  compositions  of  sacred  and 
secular  music,  the  following  are  especially- 
noteworthy  :  Grande  Studio  di  allegoric 
armouico-religiose,  for  full  orchestra  (gold 
medal,  Trieste,  1871)  ;  Grande  Studio  alle- 
gorico-musicale,  for  do. — Fetis,  Sui3j)lc'- 
ment,  i.  183. 

CINESI,  LE  (The  Chinese),  Italian  oper- 
etta in  one  act,  text  bj'  Metastasio,  music 
by  Georg  Reutter,  first  represented  in 
1735  in  Vienna,  and  in  1753,  with  changes, 
in  a  country  house  of  Prince  Joseph  of 
Saxe-Hildburghausen.  Scene  in  a  city  of 
China.  Characters  represented :  Lisinga, 
a  noble  Chinese  maiden,  sister  of  Silango  ; 
Sivene  and  Tangia,  Chinese  maidens,  friends 
of  Lisinga  ;  Silango,  a  young  Chinese,  re- 
turned from  travelling  in  Europe,  in  love  with 
Sivene.  The  libretto  has  been  set  to  music 
also  by  Cimarosa,  with  Asioli  and  others. 

CINQ  MAI,  LE  (The  Fifth  of  May),  can- 
tata for  a  bass  voice,  chorus,  and  orchestra, 
text  by  Beranger,  music  by  Hector  Berlioz, 
op.  6.  Chant  on  the  death  of  Napoleon  I., 
who  died  May  5,  1821.  Full  score  and  pi- 
anoforte score,  Richault,  Paris. 

CINQ-MAES,  French  opera  in  four  acts 
and  five  tableaux,  text  by  Paul  Poirson  and 


CINQUE 


Louis  Gallet,  music  by  Charles  Gouuod, 
liist  lepreseuted  at  the  Opera  Comique, 
Paris,  April  5,  1877.  Subject  from  the 
romance  of  the  same  name,  by  Alfred  de 
Vigiiy,  dealing  with  the  conspiracy  of  the 
Marquis  de  Cinq-Mars  in  the  time  of  Car- 
dinal Richelieu.  The  soprano  cantilena, 
"Nuit  respleudissante,"  has  become  very 
poiuilar  in  the  concert  room. 

CINQUE,  ERMENGILDO,  lived  in  the 
second  half  of  the  18th  century,  died  in 
1770.  Works  :  Dies  irte,  for  four  voices, 
■with  instrumental  accompanimeut  ;  Canta- 
tas for  several  voices,  with  orchestra,  among 
which  are  Angelica  e  Medoro,  and  II  sogno 
di  Scipione  ;  Stabat  Mater,  for  soprano  and 
contralto  with  orchestra  ;  all  of  Metastasio's 
oratorios,  for  several  voices,  and  orchestra  ; 
Eighteen  sonatas  for  three  violoncellos. 
— FiHis  ;  Mendel. 

CIPRIANO-CORNIER,  born  in  Venice 
about  1750,  died  at  Warsaw  in  1789.  Vio- 
linist, pupil  of  Nazzari,  went  at  an  early 
age  to  Poland,  and  became  chamber  mu- 
sician and  instructor  to  Prince  Sapieha. 
He  won  reputation  and  accumulated  a  con- 
siderable fortune.  His  compositions,  inter- 
preted by  his  exquisite  cantabile  playing, 
were  in  great  demand. — Mendel. 

CIRCASSIENNE,  LA,  opt'ra-comique  in 
three  acts,  text  by  Scribe,  music  by  Auber, 
represented  at  the  Opera  Comique,  Paris, 
Feb.  2,  1861.  Plot  original,  scene  in  the 
Caucasus.  Russian  officers  while  away  the 
tedium  of  garrison  life  by  playing  Dalay- 
rac's  opera,  Adolphe  et  Clara.  Alexis  Zou- 
boil",  a  beardless  lieutenant,  who,  under  the 
name  of  Prascovia,  has  masqueraded  in 
female  costume  and  inspired  a  passion  in 
General  Orsakoff,  essays  the  part  of  Clara. 
Orsakoff  recognizes  in  Clara  his  Prascovia, 
and  Alexis  humors  his  blind  infatuation 
until  he  obtains  from  him  the  hand  of  his 
ward  Olga,  when  he  resumes  his  uniform. 
See  FatinUza. 

CIRCfi,  ou  le  ballet  comique  de  la  royne, 
faict  aux  nopces  de  M.  le  due  de  Joyeuse 
et  de  Mademoiselle  de  Vaudemont,  rempli 


de  diverses  devises,  mascarades,  chansons 
de  musique  et  autres  geutillesses  (4to, 
Paris,  Adrien  Le  Roy  et  Robert  Ballard, 
1582).  The  title  of  the  first  French  op- 
eratic ballet-spectacle,  prepared  by  Balta- 
zarini,  and  brought  out  on  Sunday,  Oct. 
15,  1581,  in  the  salle  du  Petit-Bourbon  in 
the  Louvre.  Many  of  the  first  nobles  of 
the  realm  took  active  part  in  it.  The  mu- 
sic was  mostly,  if  not  wholly,  by  Beaulieu 
and  Maistre  Salmon  ;  some  of  it  is  given 
in  Burney.  One  of  the  orchestral  pieces, 
"  La  Clochette,"'  is  the  air  now  known  as 
"  Amaryllis,"  wrongly  attributed  to  Louis 
XIII.— Ludovic  Celler,  Les  origiues  de 
I'opora  (Paris,  18G8)  ;  Ambros,  iv.  216 ; 
'  Burney,  iii.  279  ;  Jullien,  Histoire  du  cos- 
tume au  theatre  (Paris,  1880),  3. 

CIRCE,   the    sorceress   who   entertained 
Ulysses  in  her  island  home  after  changing 
several  of  his  companions  into  swine,  is  the 
subject   of    the    following    operas :    Circe, 
French  tragedy  in  five  acts  and  prologue, 
text  by  Tliomas  Corneille,  music  by  Char- 
pentier,  represented  at  the  Theatre  de  la 
rue  Guenegaud,  March  17,  1675  ;  also  with 
music,   by  Robert  de  Visee,   Paris,   about 
1690  ;  text  revised  by  Dancourt,  and  music 
rewritten  by  Gilliers,  1705.     Circe,  French 
lyric  tragedy  in  five  acts,  with  prologue,  text 
by  Mme  Gillot  de  Saintonge,  music  by  Des- 
j  marets,  given  in  Paris,  Oct.  1,  1691.     Circe, 
1  English  opera,  text  by  Davenant,  prologue 
by  Dryden,  epilogue  by  Lord  Rochester, 
music  by  John  Bannister,  given  at  the  Dor- 
set Garden  Theatre,  London,  1677.     Circe, 
Italian  opera,  music  by  Giovanni  Domeuico 
Freschi,   Venice,   1679  ;  by  Cimarosa,   two 
acts,    Rome,    1779,   and    Milan,    1783  ;    by 
Giuseppe     Gazzaniga,     Venice,     1786;    by 
Peter  von  Winter,  Munich,  1788  (not  per- 
formed) ;  by  Ferdinand  Paer,  Venice,  1791. 
Circe,    German    opera,    music    by   Reiser, 
Hamburg,   1731.     Circe  abbandonata,  Ital- 
ian  opera,   text  by  Aurelio   Aurelj,   music 
by  Pollarolo,  Piacenza    and   Parma,    1692, 
and    Venice,    1697.      Gli  amori    di    Circe 
con  Ulisse,  Itahan  opera,  text  by  Giovanni 


ass 


CIRILLO 


Battista  Aucioni,  music  by  Badiii,  Diesileii, 
1709.  Circe  delusa,  Italian  opera,  text  by 
Falieri,  music  by  Giuseppe  Boniventi,  Ven- 
ice, 1711.  Circe  ed  Ulisse,  Italian  opera,  by 
Astaritta,  Naples,  1777  ;  by  Gioaccbino  Al- 
bertini,  Hamburg,  1785.  La  maga  Circe, 
Italian  opera,  by  Anfossi,  two  acts,  Eome, 
1788.     See  also  Uh/fises. 

CIRILLO,  FRANCESCO,  dramatic  com- 
poser, living  at  Naj^les,  about  tbe  middle  of 
the  17th  century.  He  wrote  the  following 
operas,  given  in  that  city  :  Orontea,  regiua 
d'  Egitto  (1G54:)  ;  II  ratto  di  Elena  (1655). 
— Fetis  ;  Mendel. 

CIRO  RICONOSCIUTO  (Cyrus  Recog- 
nized), Italian  ojjera  in  three  acts,  text  by 
Metastasio,  lirst  set  to  music  by  Caldara, 
and  rej)resented  in  Vienna,  Aug.  28,  1736, 
in  honour  of  the  birthday  of  the  Empress 
Elizabeth.  Scene  on  the  borders  of  Media. 
Characters  represented  :  Astiage,  King  of 
Media,  and  father  of  Mandane  ;  Mandane, 
wife  of  Cambise  and  mother  of  Ciro  ;  Ciro, 
under  the  name  of  Alceo,  a  shepherd  and 
putative  son  of  Mitridate  ;  Arpago,  confid- 
ant of  Astiage  and  father  of  Arixalice  ;  Ai-- 
palice,  confidant  of  Mandane  ;  Mitridate, 
shepherd  of  the  royal  flocks ;  Cambise,  a 
Persian  j^rince,  husband  of  Mandane  and 
father  of  Ciro,  disguised  as  a  shepherd. 
The  libretto  has  been  set  to  music  also  by 
Jommelli,  Italy,  about  1744  ;  by  John  Chris- 
topher Smith,  London,  about  1715  ;  by  Jo- 
hann  Adolph  Hasse,  Dresden,  1751  ;  by 
Sarti,  Copenhagen,  1756  ;  by  Gioacchino 
Coechi,  London,  1759  ;  by  Beuda,  Gotha, 
1766  ;  by  Borghi,  Venice,  1771  ;  by  Brizzio, 
Ferrara,  about  1800  ;  by  Tarchi,  Piacenza, 
1796.  Cyrus  und  Astiages,  German  grand 
opera,  text  by  Collin,  three  acts,  music  by 
von  Mosel,  Vienna,  1818.  Cyrus  und  Kas- 
sandra,  music  by  J.  D.  Heusel,  Vienna, 
about  1800.  Other  works  on  the  same  or  a 
similar  subject  are  :  Ciro,  Italian  opera, 
music  by  Cavalli  and  Matiolli,  Venice, 
1665  ;  by  Francesco  Conti,  text  by  Pariati, 
Vienna,  1715  ;  by  Attilio  Ariosti  with  Bo- 
iionciui,   Loudon,    1721  ;   by   Duni,   Italy, 


1730  ;  l)y  Giuseppe  Ferraudiui,  Munich, 
1733  ;  by  Picciuui,  1759  ;  by  Capotorti, 
Naples,  1805.  Ciro  in  Armenia,  Italian 
opera,  by  Maria  Teresa  Agnesi,  Milan,  1771. 
Ciro  in  Babilonia,  Italian  opera,  text  by 
Metastasio,  music  bj*  Rossini,  Ferrara,  1812  ; 
music  by  Raimondi,  Rome,  about  1820. 
Ciro  ricouosciuto,  music  by  Albinoni,  rep- 
resented at  Rome,  1710  ;  by  Scarlatti, 
Rome,  1712  ;  by  Leo,  Naples,  1727. 

CIRRI,  GIOVANNI  BATTISTA,  born  in 
Forli,  about  1710.  Violoncellist  and  com- 
poser, son  of  Iguazio  Cirri,  organist  and 
composer  (1716).  He  lived  some  time  in 
England.  His  first  work,  quartets  for  two 
violins,  viola,  and  violoncello,  was  published 
in  Florence  (1763).  This  was  followed  by 
sixteen  other  works,  also  quartets,  publish- 
ed in  Florence,  Paris,  and  London.  His 
18th  work,  six  trios  for  violin,  viola,  and 
violoncello,  was  published  in  Venice  (1791). 
— Fetis;  Mendel. 

CLAEPIUS,  "S^TLHELM  HERMANN, 
born  at  KOthen,  Anhalt,  Aug.  20,  1801,  died 
there,  Aug.  11,  1868.  Singer,  im])il  of 
Mieksch  at  Dresden,  whither  he  went  in 
1823,  and  where  Weber  befriended  him  and 
procured  him  an  engagement  as  basso  at 
the  Opera.  In  1825  he  was  engaged  as 
singer  and  actor  at  Bremen,  in  1828  at 
Brunswick,  and  in  1829  he  went  as  choir- 
director  to  Magdeburg.  In  1834-42,  and 
again  in  1847-48,  he  occupied  a  similar  po- 
sition at  the  KOuigsstiidtische  Theater  in 
Berlin,  where  he  resided  for  several  years 
afterwards,  before  retiring  to  his  native 
city.  He  comjjosed  the  music  to  a  number 
of  dramas  and  ballets,  besides  overtures, 
entr'actes,  sti'ing  quartets,  and  many  songs. 
—Mendel. 

CL.\GGET,  CHARLES,  born  in  London 
in  1755,  died  there  in  1820.  Instrumental 
composer,  and  inventor  and  improver  of 
musical  instruments.  Among  his  composi- 
tions are  ;  Six  duos  for  two  flutes  ;  do.  for 
violins ;  do.  for  violin  and  violoncello,  op. 
5.  He  published  also  a  description  of  some 
of  his  instruments,  under  the  title  :  Musi- 


CLAIR 


ciil  I'heuomeua  (London,  17i);5). — IVHis  ; 
Grove  ;  Mendel  ;  Schilling. 

CLAIR.     See  Le  Clair. 

CLAJEEMBAULT,  LOUIS  NICOLAS, 
born  in  Paris,  Dec.  19,  167G,  died  there, 
Oct.  2G,  171:9.  Organist,  jjupil  of  Eaison, 
whom  be  succeeded  as  organist  of  the 
Church  of  the  Jacobins,  in  the  rue  Saiut- 
Jaques.  He  was  afterward  organist  of  the 
Church  of  St.  Louis,  of  the  parish  of  St. 
Sulpice,  of  the  Eoyal  House  at  St.  Cyr,  and 
superintendent  of  the  music  of  Mme  de 
Maintenon.  He  published  iive  books  of 
cantatas,  of  which  Orphce  is  considered 
his  best.  His  first  published  work  was  : 
Deux  livres  de  pic'ces  de  clavecin  (1707). 
He  wrote  :  Un  office  comjjlet  a  I'usage  de 
I'Abbaye  de  St.  Cyr,  and  Un  livre  d'orgue 
contenant  deux  suites  du  premier  et  du 
second  ton  (Paris,  1710).  He  produced 
also  at  the  Opera  :  Le  soleil  vainqueur 
des  nuages,  1721  ;  and  wrote  an  Idyl,  per- 
formed at  the  Court,  called  :  Le  depart  du 
roi,  1745.  His  son,  Cesar  Franyois  Nico- 
las Clurambault,  was  organist  of  St.  Sul- 
pice, Paris,  until  his  death,  Oct.  9,  1760. 
He  published  works  for  the  harpsichord 
and  the  organ. — Fetis  ;  do.,  Supplement,  i. 
187  ;  Mendel. 

CLAPISSON,  ANTONIN  LOUIS,  born 
in  Naples,  Sept.  15,  1808,  died  in  Paris, 
March  19,  18()6.  Violinist  and  dramatic 
composer,  pupil  at  the  Conservatoire  from 
1830  to  1835,  under  Habeneck  for  violin, 
and  Reicha  for  composition.  His  two  op- 
eras :  La  promise  (1854:),  and  La  fanchon- 
ette  (1S5G),  are  the  only  ones  which  were 
popular,  althougli  the  others  contain  much 
fine  orchestration.  Legion  of  Honour,  1847 ; 
Member  of  the  lustitut,  1854  ;  Professor  of 
harmony  at  the  Conservatoire  in  the  same 
j'ear.  His  collection  of  ancient  instruments 
of  music  is  now  in  the  museum  of  the  Con- 
servatoire. Works — Oi^eras  :  La  figurante, 
given  at  the  Opera  Coniique,  1838  ;  La  sym- 
phonic, ib.,  1839;  La  perruclie,  ib.,  1840; 
Le  pendu,  Frere  et  niari,  ib.,  1841  ;  Le 
code  noir,  ib.,  1842  ;  Les  bergers  trumeaux, 


ib.,  1845  ;  Gibby  la  Cornemuse,  ib.,  1846  ; 
Don  Quichotte  et  Saucho,  ib.,  1847  ;  Jeanne 
la  Folle,  grand  opera.  Opera,  1848  ;  La 
statue  equestre,  Ojx'ra  Comique,  1850  ;  Les 
mysteres  d'Udolphe,  ib.,  1852  ;  Dans  les 
vignes.  La  promise,  Theatre  Lyrique,  1854  ; 
Fanchonette,  ib.,  1856  ;  Margot,  ib.,  1857  ; 
Le  coffret  de  Saint-Dominique,  Salle  Herz, 
1855  ;  Les  amoureux  de  Perrette,  Baden-Ba- 
den, 1855  ;  Le  Sylphe,  ib.,  1856  ;  Les  trois 
Nicolas,  Opera  Comique,  1858 ;  Madame 
Gregoire,  Theatre  Lyrique,  1860.  His  song, 
"Postilion  de  Mam'  Ablou,"  was  celebrated. 
He  wrote  quartets  for  male  voices  and  many 
choruses. — Fetis  ;  do.,  Supplement,  i.  184  ; 
Mendel. 

CLARCHIES,  (LOUIS)  JULIEN,  born  at 
Curasao,  Dec.  22,  1769,  died  in  Paris  in 
1814.  Violinist,  pupil  of  Capron  on  the 
violin,  and  of  Cambini  in  composition.  He 
was  celebrated  for  the  peculiar  elegance 
and  style  with  which  he  played  contre- 
danses,  then  very  popular.  He  published 
fifteen  collections  of  contredanses  for  vio- 
lin ;  Un  air  varie,  and  Trois  ceuvres  de 
duos,  for  violin  ;  Un  air  varie  pour  alto  ; 
Un  oeuvre  de  duos  pour  clarinette  ;  and  ro- 
mances pour  violon. — Fetis. 

CLARENTINI,  ]MICH1-:LE,  born  in  Ve- 
rona in  the  second  half  of  the  16th  century. 
Composer  of  motets  which  were  published 
in  a  collection  under  the  title  :  Moteta  2  et 
3  vocum,  cum  basso  ad  organum  (Venice, 
1621).— Fetis. 

CLAEER,  THEODOR,  born  at  Doebern, 
Bavaria,  in  1764,  died  (?).  Church  singer 
and  composer,  pvipil  of  Pater  Franz  Sehnet- 
zer,  canon  of  Ottobeuern,  and  of  Benedict 
Kraus,  who  had  been  a  maestro  di  cappella 
in  Venice.  He  was  appointed  director  of 
music  at  Ottobeuern  in  1785,  and  held  that 
position  till  the  extinction  of  the  order, 
when  he  was  made  pastor.  He  composed 
a  great  deal  of  church  music,  which  was 
held  in  much  estimation  by  Haydn.- — Fetis. 

CLARI,  Italian  opera  senii-seria  in  three 
acts,  music  by  Halevy,  represented  at  the 
Theatre  Italien,  Paris,  Dec.  9,  1828.     This 


CLAEI 


opera,  in  which  the  principal  role  ^Yas  sus- 
tained by  Mme  Malibran,  contains  some 
remarkable  music  and  added  much  to  the 
composer's  reputation.  Clari,  the  Maid  of 
Milan,  English  opera  in  three  acts,  text  by 
John  Howard  Paiue,  music  by  Bishop,  given 
at  Covent  Garden,  LondoD,  1823.  The  sub- 
ject of  both  these  works  is  identical  with 
that  of  the  ballet  of  the  same  name,  by  Ro- 
dolphe  Kreutzer,  Paris,  1820.  —  Musical 
Rev.,  V.  54:5. 

CLARI,  GIOVANNI  CARLO  MARIA, 
born  in  Pisa  in  1GG9,  died  about  1745. 
Church  composer,  student  at  Bologna  un- 
der Colonna.  He  wrote  an  opera,  II  savio 
delirante,  which  was  given  at  Bologna  in 
1695,  with  great  success,  but  he  is  best 
known  as  a  composer  of  madrigals  for  two 
and  three  voices.  A  collection  of  these, 
published  in  1720,  was  reprinted  by  Carli, 
Paris,  in  1823,  with  a  pianoforte  accompani- 
ment by  Mirecki.  In  them  is  apparent  an  ap- 
jjroach  towards  the  modulation  of  later  times 
which  helps  to  mark  an  epoch  in  composi- 
tion, and  this,  together  with  his  novel  treat- 
ment of  the  fugue,  stamps  him  as  a  progres- 
sive composer.  Works :  Dextera  Domiue 
for  four  voices  ;  Beuedictus  for  two  choirs  ; 
Ave  Maris  Stella,  four  voices  and  orchestra  ; 
Domiue  for  do.;  Mass  for  five  voices,  two 
violins,  viola,  and  organ  (Pistoja,  1712)  ; 
Credo  for  four  voices  ;  Psalms  for  do. ;  De 
profundis  for  do.  and  organ  ;  Requiem  mass 
for  nine  voices,  two  violins,  viola,  and  organ  ; 
Mass  for  four  voices  a  cappella  (Pisa,  1736) ; 
do.  with  two  violins  and  organ.  In  the 
royal  library  at  Copenhagen  is  a  Stabat  Ma- 
ter in  C  minor  for  four  voices  with  orches- 
tra.— Grove  ;  Fetis  ;  Mendel. 

CLARK,  FREDERICK  SCOTSON,  born 
in  London,  Nov.  16,  1840,  died  there,  July 
5,  1883.  Organist,  pupil  in  Paris  of  Ser- 
gent  on  the  pianoforte  and  in  harmony,  of 
Edward  John  Hopkins  on  the  organ,  and  at 
the  Royal  Academy  of  Music  of  Bennett, 
Goss,  Engel,  Pinsuti,  and  Pettit.  He  was 
organist  successively  of  several  churches  in 
London,  where  he  founded  a  college  of  mu- 


sic in  1865.  While  studying  for  the  min- 
istry at  Oxford,  he  was  organist  of  Exeter 
College  ;  became  curate  at  Lewes,  Sussex  ; 
then  studied  at  the  Conservatorium,  Leip- 
sic,  under  Richter,  Reiuecke,  etc.,  and  in 
Stuttgart  under  Lebert,  Pruckner,  and  Krii- 
cer.  In  1873  he  returned  to  Loudon,  and 
represented  English  organ  playing  at  the 
Paris  Exhibition  in  1878.  Bac.  Mus.,  Ox- 
ford, 1867.  Works  :  Voluntaries,  andantes, 
melodies,  marches,  communions,  offertories, 
impromptus,  gavottes,  minuets,  fantasias, 
improvisations,  etc.,  for  organ ;  Marches, 
dances,  nocturnes,  niorceaux  de  salon, 
studies  for  pianoforte  ;  Kyrie  eleison,  and 
Sanctus  from  communion  service  (2)  ;  Mag- 
nificat and  Nunc  dimittis  ;  Songs,  and  part- 
songs. 

CLARK,  JEREMIAH,  born  about  1668 
(1670  ?),  died  near  London,  by  suicide,  Dec. 
1,  1707.  Dramatic  comjjoser,  chorister  in 
the  Chapel  Royal  under  Dr.  Blow.  In  1693 
he  became  organist  of  Winchester  College, 
but  succeeded  Dr.  Blow  in  1693  as  almoner 
and  master  of  the  children  of  St.  Paul's 
Cathedral,  and  in  1695  was  appointed  or- 
ganist and  vicar  choral  of  St.  Paul's.  In 
1700  he  and  his  fellow  pui^il,  William  Croft, 
were  named  gentlemen  extraordinary  of  the 
Chapel  Royal,  and  in  1704  joint  organists. 
He  was  the  original  composer  of  Drydeu's 
famous  ode,  "Alexander's  Feast,"  performed 
at  Stationers'  Hall  on  the  feast  of  St.  Ce- 
cilia, in  1697,  the  music  of  which  is  now 
probably  lost.  Works :  Music  to  the  fol- 
lowing plays  :  Antony  and  Cleopatra,  1677  ; 
The  Fond'  Husband,  1676  ;  Titus  Andron- 
icus,  1687  ;  The  World  in  the  Moon  (with 
Purcell),  1697  ;  The  Island  Princess  (with 
Purcell  and  Leveridge),  1699  ;  Ode  in 
praise  of  the  island  of  Barbadoes ;  Alexan- 
der's Feast,  ode  ;  The  Assumption,  cantata  ; 
Anthems  ;  Ten  songs,  op.  4  ;  Lessons  for  the 
harpsichord.— Grove;  Fetis ;  Barrett,  Eng- 
lish Church  Composers,  104  ;  Harmonicon, 
1832,  264 ;  Athenrenra  (1887),  L  457. 

CLARKE,  HUGH  ARCHIBALD,  born 
of  Scottish  parents  in  Toronto,  Canada,  Aug. 


338 


CLAEKE 


15,  1839,  still  living,  1888.  Organist,  pupil 
of  Lis  father,  James  Tnton  Clarke  (Mus. 
Doc,  Oxford,  profes- 
sor of  music  in  Upper 
Canada  University). 
Since  1875  he  has  held 
the  position  of  profes- 
sor of  music  in  the  Uni- 
versity of  Pennsylva- 
nia, from  which  in 
188G  he  received  the 
degree  of  Mus.  Doc. 
He   was  for  several 

years  leader  of  The  Abt,  male  singing  so- 
ciety, Philadelphia,  which  was  disbanded  in 
1876.  In  connection  with  Charles  H.  Jar- 
vis,  of  Philadelphia,  Clarke  gave  a  series  of 
historical  concerts  in  that  city  ;  since  1875 
he  has  been  organist  of  the  Presljyterian 
Church.  "Works :  Overture  and  Choruses 
to  Aristophanes's  Acharnians,  1886  ;  Songs ; 
Pianoforte  music.  He  is  the  author  of  a 
treatise  on  Harmony,  and  of  instruction 
books  for  the  pianoforte  and  organ. 

CLARKE,  JAMES  HAjSHLTON,  born  in 
Birmingham,  England,  Jan.  25,  1840,  still 
living,  1888.     Dramatic  comi^oser,    chiefly 
self  taught.     He  was  organist  successively 
at   Birmingham  (1852),   Parsonstown,  Ire- 
land (1862),  Dublin  (1863),  Belfast  (1865), 
Oxford  (1866-7),  South  Kensington,  Lou- 
don (1871-2)  ;  travelled  as  conductor  of  the 
Carlotta  Patti  concert  troupe  in  1873,  and 
with  a  company  performing  the  Sorcerer  in 
1878  ;  was  leader  of  the  Opera  Comique  in 
London,    1874-5,  and   musical  director  of 
the  Lyceum  Theatre,   1878,   etc.     Works  : 
Castle  Botherem,  or  An  Irish  Stew,  operetta, 
op.    206,    1880  ;    Martial   Law,   a    musical 
comedietta,  op.  183  ;  Praise,  sacred  cantata, 
op.   68,  1867  ;  Overtures  :  Thanistene,   op. 
7,  1859  ;  Ballet  overture,  op.  100  ;  Overture 
composed  for  Birket  Foster,  op.  102,  1874  ; 
Concert   overture,    op.    123  ;    Overture    to 
Hamlet,  op.  134,  1875  ;  Rob  Roy,  op.  137  ; 
Nanon,  op.  187  ;  Lady  of  Lyons,  op.  197, 
1879  ;  Cecile,  op.  21o!  1880  ;  Overture  and 
incidental  music  to  Hamlet,  op.  192,  1878  ; 


do.  to  Eugene  Aram,  op.  199,  1879  ;  do.  to 
Zillah,  op.  201,  1879  ;  do.  to  the  Iron  Chest, 
op.  202,  1879  ;  do.  to  Merchant  of  Venice, 
op.  203,  1879  ;  do.  to  Corsican  Brothers, 
208,  1880  ;  do.  to  The  Cup,  op.  214,  1881  ; 
Music  to  a  ballet,  op.  136,  Alexandra  Pal- 
ace, 1875  ;  First  Symphony,  in  F,  op.  101, 
1873  ;  Second  do.,  in  G  minor,  op.  122, 
1879  ;  Saltarello,  for  orchestra,  op.  98  ;  First 
Coucerto  for  pianoforte  and  orchestra,  op. 
78  ;  First  quartet  for  violins,  viola  and  vio- 
loncello, op.  93  ;  Polonaise  for  pianoforte  and 
orchestra,  op.  209  ;  The  Lord  is  my  light, 
anthem  in  eight  parts,  op.  44  ;  Organ  mu- 
sic, songs,  part-songs,  etc. 

CLARKE,  JOHN,  called    afterwards 
Clarke-Whitfeld,  born  in  Gloucester,  Eng- 
land, Dec.  13,  1770,  died  at  Holmer,  near 
Hereford,  Feb.   22,  1836.      Organist,  pupil 
at  Oxford  of  Dr.  Philip  Hayes.    He  was  ap- 
pointed organist   of  the  parish   church  of 
Ludlow  in  1789,  and  organist  of  Armagh 
Cathedral,   Ireland,   in   1795,  but  resigned 
the  same  year  to  become  organist  and  mas- 
ter of  the  choristers  of  St.  Patrick's  Cathe- 
dral and  Christ  Church,  Dublin.     In  1798 
he  returned  to  England  and  became  organ- 
ist and  master  of  the  choristers  of  Trinity 
and  St.  John's  Colleges,  Cambridge.    From 
1820  to  1833  he  was  organist  and  master  of 
choristers  at  Hereford  Cathedral.     He  took 
the   degree    of   Mus.    Bac,    at    Oxford,   in 
1793  ;  Mus.  Doc,  Trinity  College,  Dublin, 
1795  ;  Mus.  Doc,  Cambridge,  1799  ;  Mus. 
Doc,   Oxford,    1810  ;   and  he   was  elected 
professor  of  Music  at  Cambridge  in  1821. 
He  assumed  the  name  of  Whitfeld  on  the 
death  of  a  maternal  uncle.     Works :  Cathe- 
dral Services  and  Anthems  (4  vols.,  1805), 
reprinted  by  Novello  ;  Twelve  Glees  (1805) ; 
The  Crucifixion  and  the  Resurrection,  ora- 
torio (Hereford,    1822)  ;    Twelve   Songs  (2 
vols.,  n.  d.)  ;  Selection  of  single  and  double 
chants   (2   vols.,    n.   d.) ;  and    many   other 
glees,  songs,  etc.     He  edited  also  the  Vo- 
cal Works  of   Handel  (17   vols.,   London, 
1809).— Grove  ;    Fctis  ;    Riemann,     170  ; 
Mendel. 


CLARKE 


CLARKE,  WILLL\M  HORATIO,  born 
of  Americau  parentage,  in  Newtou,  Massa- 
chusetts, 1840,  still  living,  1888.  Organist, 
when  a  lad  played  the  violin  in  the  choir  of 
one  of  the  Newton  churches,  and  studied 
the  organ  under  several  teachers.  Li  1856, 
he  became  organist  of  the  Congregational 
Church  of  Norwood,  Mass.  ;  1857,  Unita- 
rian Church,  Dedhaiu,  Mass.  ;  1859,  Berke- 
lej'  Street  Congregational  Church,  Boston  ; 
1861,  First  Congregational  Church,  Wo- 
burn,  Mass.  ;  1865,  Berkeley  Street  Congre- 
gational Church,  Boston  ;  1866,  First  Con- 
gregational Church,  Woburn,  Mass.  ;  1869, 
Unitarian  Church,  ib.  ;  1873,  First  Metho- 
dist Church,  Erie,  Peuu.  ;  1875,  First  Bap- 
tist Church,  Indianapolis ;  1878,  Treiuont 
Temple,  Boston  ;  1880,  Jarvis  Street  Bap- 
tist Church,  Toronto,  Canada  ;  1884,  Plym- 
outh Congregational  Church,  Indianapolis  ; 
1886,  First  Baptist  Church,  Rochester,  New 
York.  At  present  (1888)  he  is  settled  in 
Bostou  as  a  teacher  of  music,  and  is  organ- 
ist of  the  First  Congregational  Church  of 
Woburn.  In  1871  he  was  engaged  as  su- 
perintendent of  musical  instruction  in  the 
public  schools  of  Dayton,  Ohio.  He  has 
had  wide  experience  as  an  organist,  and 
possesses  an  unusual  knowledge  of  his  in- 
strument. Works  :  Home  Recreations  for 
Organ  (1866)  ;  Short  Voluntaries  for  the 
Organ  (1869)  ;  Reed  Organ  Melodies  (1877) ; 
Anthems  and  Responses  (1879) ;  Short  Gems 
for  the  Organ  (1886).  He  has  written  also 
several  books  on  organ  instruction,  such  as 
New  Method  for  Reed  Organs  (1869),  of 
which  more  than  100,000  cojsies  have  been 
sold  ;  Outline  of  the  Structure  of  the  Pipe 
Organ  (1877) ;  Harmonic  School  for  the 
Organ  (1878). 

CLASING,  JOHANN  HEINRICH,  born 
in  Hamburg,  Germany,  1779,  died  there 
Feb.  8,  1829.  Dramatic  composer,  and 
pianist,  pupil  of  Sclnvencke,  early  won  rep- 
utation as  an  excellent  teacher,  and  did  much 
towards  the  promotion  of  musical  life  in 
Hamburg.  He  also  edited  Handel's  works, 
and  arranged  the  pianoforte  scores  of  his 


oratorios.  Works  :  Belsazar,  oratorio  for  4 
voices,  chorus  and  orchestra  ;  Die  Tochter 
Jejjhta's,  do.  for  3  voices,  etc. ;  Micheli  und 
sein  Sohn,  opera  (sequel  to  Clierubiui's 
Watercarrier),  given  in  Hamburg,  1806  ; 
Welcher  ist  der  Eechte,  comic  ojsera,  ib., 
1811  ;  Pater  Noster,  for  4  voices  ;  Das  Lob 
des  HOchsten,  hymn  for  contralto  or  bass, 
and  organ  ;  Trio  for  j^ianoforte,  violin  and 
violoncello,  op.  4  ;  Fantasia  for  jjianoforte 
and  violoncello,  op.  8  ;  Sonata  for  piano- 
forte and  violin,  op.  10  ;  Rondo  for  piano- 
forte, op.  9  ;  Two  fantasias  for  do.,  op.  13 
and  14. — Fetis  ;  Mendel ;  Schilling. 

CLAUDINE  VON  VILLA  BELLA,  dra- 
ma by  Goethe,  music  by  Johann  Andre, 
Berlin,  about  1780  ;  music  by  Gottfried  We- 
ber, Stuttgart,  1783  ;  by  Ignaz  von  Beecke, 
Vienna,  1784  ;  by  Reichardt,  Charlotten- 
biirg,  1790  ;  by  Friedrich  Schneider,  Leiji- 
sic,  1807  ;  by  Blum,  Berlin,  1810  ;  by  Eber- 
weiu,  Rudolstadt,  1815  ;  by  Franz  Schu- 
bert, 1815  (not  performed  ;  two  acts  burned 
by  accident  in  1848  ;  tirst  act  preserved  in 
library  of  the  Gesellschaft  der  Musikfreunde, 
Vienna.  See  Helborn  (Coleridge),  i.  09) ;  by 
Kienlen,  Augsburg,  1817  ;  by  Franz  Gliiser, 
Pesth,  1826  ;  by  Drechsler,  about  1830  ;  by 
Franz  Schneider,  about  1830  ;  by  Heinrich 
Wilhelm  Stolze,  about  1840  ;  by  Peter  Mul- 
ler,  about  1850  ;  by  Graf  von  Hochberg, 
Schwerin,  1864 ;  and  by  Franz  Knajjpe, 
Diisseldorf,  1882. 

CLAUFEN,  JOHANN  GOTLOB,  organ- 
ist at  Auerbach,  about  the  middle  of  the 
16th  century.  He  composed  trios  for  the 
organ,  preludes  for  chorals  on  two  man- 
uals and  pedal,  which  were  never  published, 
but  of  wliich  many  copies  exist  in  Germany. 
— Fctis. 

CLAUSS,  VICTOR,  born  at  Bernburg, 
Auhalt,  Nov.  24,  1805,  still  living,  1888. 
Organist,  pupil  of  Friedrich  Schneider  at 
Dessau.  He  became  organist  in  his  native 
city  in  1828,  founded  a  chlaral  society  for 
sacred  music,  in  the  interest  of  which  he 
visited  the  principal  cities  of  Germany  in 
1830-31.     In  1834  he  was  made  ducal  di- 


CLAUSSEX 


rector  of  music  at  Bernburg,  and  in  1837  at 
Biillenstildt.  He  has  published  composi- 
tious  for  orgau  and  pianoforte,  and  songs. 
— Mendel. 

CLAUSSEN,  WILHELM,  born  at 
Seliwerin,  in  1843,  died  there,  Dec.  22, 
1869.  Composer,  pupil  at  Stern's  Conser- 
vatorium  in  Berlin  ;  he  took  the  prize 
which  Meyerbeer  founded  at  Berlin  iu  1868, 
for  an  overture,  and  with  the  means  thus 
gained  visited  France  and  Italy.  Several 
of  his  pianoforte  pieces  and  songs  were 
published  after  his  death. — Fetis,  Supple- 
ment, i.   185  ;  Mendel. 

CLAVli,  JOSE  ANSEL5I0,  born  in  Bar- 
celona, April  21,  182-1:,  died  there  in  Feb- 
ruary, 1874.  He  became  famous  in  Spain 
for  his  popular  songs  and  choruses  ;  he  in- 
troduced choral  singing  and  established 
the  first  musical  society  in  1851,  and  or- 
ganized the  first  popiular  musical  festival  in 
Spain,  Sept.  17,  1860,  which  led  to  great 
results.  He  composed  many  zarzuelas,  or 
comic  operas. — Fetis,  Supplement,  i.  185  ; 
Mendel,  Ergiinz.,  GL 

CL.WEL,  JOSEPH,  born  in  Nantes, 
Dec.  20,  1800,  died  at  Sillc-le-Guillaume, 
Aug.  31,  1852.  Violinist,  admitted  as  pupil 
at  the  Paris  Conservatoire  in  1813,  studied 
the  violin  under  Kreutzer,  took  the  first 
prize  iu  1818,  and  became  in  1819  adjunct 
professor.  He  acted  as  leader  of  second 
violins  at  the  concerts  of  the  Conservatoire, 
and  was  first  violinist  at  the  Theatre  It- 
alien  for  ten  years,  entering  the  orchestra  of 
the  Opera  at  the  exjairatiou  of  that  time. 
Works :  Deux  ceuvi-es  de  duos  pour  deux 
violons,  alto  et  basse  ;  Trois  senates  ;  Airs 
varies  ;  Romances  for  violin. — Fetis  ;  do., 
Supplement,  i.  185  ;  IMendel. 

CLAY,  FEEDEllICK,  born  of  English 
parents  in  Paris,  Aug.  3,  18-10,  still  living, 
1888.  Dramatic  composer,  pupil  of  Mo- 
lique,  and  at  Leipsic  of  Hauptinann.  He 
produced  first  in  private  circles  :  The  Pi- 
rate's Isle,  1859  ;  Out  of  Sight,  1860  ;  and 
since  then  has  brought  out  the  following 
operas  and  operettas  at  Covent  Garden,  the 


Gallery  of  Illustration,  and  other  London 
theatres  :  Court  and  Cottage,  1862  ;  Con- 
stance, 1865  ;  Ages  Ago,  1869  ;  The  Gentle- 
man in  Black,  1870  ;  Happy  Arcadia,  1872  ; 
The  Jllack  Crook,  1873  ;  Cattarina,  1874  ; 
Princess  Toto,  Don  Quixote,  1875  ;  The 
Golden  Eing,  1883 ;  Music  to  "  Twelfth 
Night,"  and  other  dramas  ;  The  Knights  of 
the  Cross,  cantata,  1866  ;  Lalla  Kookh,  do., 
1877  ;  Songs,  part-songs,  etc. — Grove. 

CLAYTON,  THOMAS,  one  of  the  royal 
band  in  the  reign  of  William  and  Mary. 
Having  studied  in  Italy,  he  undertook  to 
reform  EuglLsh  musical  taste  by  performing 
his  own  compositions.  Having  associated 
himself  with  Nicolo  Francesco  Haym,  and 

'  Charles  Dieupart,  both  good  musicians, 
he  produced  Arsinoe,  in  1705,  with  some 
success ;  but  when  he  subsequent]}'  at- 
tempted to  compose  the  music  for  Addi- 
son's opera,  Rosamund,  and  Dryden's  Alex- 
ander's Feast,  altered  by  Hughes,  he  failed 
lamentablv. — Grove  ;  Fetis;  Mendel. 

CLEANSE  THEE,  O  ^^^:  SOUL,  FROM 
SIN.     See  llache  dich,  meiu  Herze,  rein. 

CLEMENS  NON  PAPA  (Jacques  Cle- 
ment), called,  born  in  Flanders  ?  died  before 
1558.  All  that  is  known  of  his  life  is  that 
he  succeeded  Gombert  as  maitre  de  cha- 
pelle  to  Charles  V.  It  is  probable  that  he 
spent  several  year.s  in  Italy.  Ambros  calls 
him  the  greatest  Flemish  composer  between 
Gombert  and  Orlando  Lasso,  and  says  that 
his  Vox  in  Rama,  his  0  Maria,  vernans 
rosa,  and  his  Angelus  ad  pastores  (Christ- 

I  mas  motet),  show  that  he  was  but  a  stejj 
behind  Palestrina.  His  fame  and  popular- 
ity are  indicated  by  his  nickname,  chosen 
to  distinguish  him  from  Pope  Clement  VH., 

\  and  by  the  numerous  editions  of  many  of 
his  works  published  in  various  jjarts  of  Eu- 
rope. He  was  a  man  decidedly  in  advance 
of  his  time,  and  some  of  his  works  might  be 
mistaken,  even  by  connoisseurs,  for  compo- 
sitions by  Palestrina.  His  popularity,  how- 
ever, like  that  of  many  of  his  contempora- 
ries, did  not  long  outlive  him  ;  the  rising 
genius  of  Orlando  Lasso  threw  too  many  of 


331 


CLEMENT 


that  great  man's  Flemish  predecessors  into 
the  shade.  Works :  Ten  masses,  one  for  6 
voices,  five  for  5  voices,  four  for  -1  voices,  pub- 
lished separately  (Louvain,  Petrus  Phalesi- 
us,  1556-1559)  ;  Cautionum  sacrarum  qua- 
tuor  vocum,  lib.  I.-Vn.  (ib.,  1567) ;  Chan- 
sons franyaises  a  quatre  parties  (ib.,  1569) ; 
Missa  defuuctorum  (ib.,  1580) ;  Seven  books 
of  Flemish  psalms  (Souter  Liedekeus)  ; 
Tylman  Snsato,  1556,  etc.  (Four  books  also 
in  connection.)  Various  comj^ositions  of 
Clement  are  in  the  following  collections : 
66  motets  (seven  for  G  voices,  thirty-eight 
for  5  voices,  tvsrenty-one  for  4  voices)  in 
"Novum  et  insigne  opus  .  .  .  etc." 
(Nuremberg,  1558)  ;  92  motets  in  the  first 
six  books  "  Sacrarum  cantionum  quas  vul- 
go  motetas  vooant "  (Louvain,  1559)  ;  12 
2)salms  in  parts  I.,  III.,  and  LV.  of  the  col- 
lection by  Moutauus  und  Neuber  (Nurem- 
berg);  11  motets  in  "Lib.  secuudus  select, 
cant."  (Ulhard,  1548)  ;  42  motets  in  Com- 
mer's  "Collectio  op.  mus.  Batavorum  saec. 
XVI.  ; "  Motets  in  "  Motetti  del  labirinto 
(Venice,  1554);  Motets  in  "Liber  primus 
musarum  cum  quatuor  vocibus,  seu  sacrse 
cantiones,  quas  vulgo  motetas  appellant" 
(Milan,  1558)  ;  Three  motets  in  Proske's 
"  Musica  Divina  ;  "  Chansons  in  "Premier 
livre  des  chansons  a  quatre  parties  "  (Lou- 
vain, 1558)  ;  and  in  Recueil  des  Fleurs,  etc." 
(ib.,  1569).— Ambros,  iii.  307. 

CLEMENT,  CHARLES  FRANCOIS, 
born  in  Provence  about  1720.  Professor 
of  the  harpsichord  and  dramatic  composer. 
He  produced  in  1756  La  pipoe,  a  parody  of 
the  ojjera,  II  paratagi,  by  Jommelli,  at  the 
Theatre  Italien,  and  La  Bohemienne,  at  the 
Opera  Comique.  He  wrote  also  two  canta- 
tilles  entitled  :  Le  dc'part  des  guerriers, 
and  Le  retour  des  guerriers  ;  Un  livre  de 
pieces  de  clavecin  avec  accompagnement  de 
violon ;  and  collections  of  pieces  for  the 
harpsichord  (Paris,  1762,  1763,  1764,  1765). 
He  was  the  author  also  of  several  theoretical 
works. — Fc'tis  ;  Mendel. 

CLEMENT,  FlilLrX,  born  in  Paris,  Jan. 
13, 1822,  died  there,  Jan.  31,  1885.    Strongly 


opposed  by  his  parents,  he  took  lessons  in 
harmony  and  composition  without  their 
knowledge  from  Moucouteau,  the  blind 
organist  of  Saint-Sulpice.  When  thirteen 
years  old  he  composed  a  mass  which  was  per- 
formed by  the  Soeiete  Orj)heonique.  He 
was  organist  of  Notre  Dame  de  la  Pitie  for 
five  years,  and  then  preceptor  in  a  family 
in  Normandy.  He  returned  to  Paris  in 
1840,  and  was,  from  1843  to  1860,  ^jrofessor 
of  music  at  the  College  Stanislas.  He  was 
appointed  by  the  government,  in  1849,  to 
take  charge  of  the  music  of  the  Sainte 
Chajselle  on  all  public  occasions ;  and  he 
was  also  honorary  maitre  de  chapelle  of 
the  Sorbonne  and  of  the  College  Stanis- 
las, and  incumbent  of  the  Lycee  Louis- 
le-Grand.  Works :  Le  dormem-  eveille,  or 
Abou  Hassan,  comic  ojjera.  Theatre  Ly- 
rique  (1847) ;  Choruses  for  Racine's  Athalie 
(1858)  ;  Deux  savants,  comic  opera  (1858) ; 
also  motets,  romances,  a  collection  of  mel- 
odies, and  other  music.  But  he  is  best 
known  by  his  critical  and  bibliograiihical 
works,  such  as  :  "  Histoire  generale  de  la 
musique  religieuse  "  (Paris,  1861)  ;  "  Les 
musieiens  celebres  depuis  le  seizieme  siecle 
jusqu'a  uos  jours  "  (Paris,  1866) ;  and  "  Dic- 
tioimaire  des  operas "  (Paris,  1869  ;  4  sup- 
plements to  1880). — Grove ;  Fetis  ;  do..  Sup- 
plement, i.  186  ;  Mendel ;  Riemann. 

CLEMENT,  FRANZ  JOSEPH,  born  in 
Vienna,  Nov.  19,  1784  (1780?),  died  there, 
Nov.  3,  1842.  Violinist  and  conductor,  pu- 
pil of  his  father  and  of  Kurzweil  ;  he  began 
to  play  the  violin  at  the  age  of  four,  and 
at  seven  made  his  first  aj^pearance  in  a  con- 
cert in  the  Imperial  Opera  House.  Travel- 
ling with  his  father,  he  went  in  1790  to 
London,  where  he  gave  concerts  conducted 
by  Haydn  and  Salomon.  On  his  return  to 
Vienna  in  1802,  he  was  appointed  solo  vio- 
linist to  the  emperor,  and  conductor  of  the 
Theater  an  der  Wien.  He  travelled  in 
Russia  and  Germany  in  1812-18,  and  in 
1822  conducted  for  Catalani  in  Prague. 
He  was  remarkable  for  technical  skill,  and 
for  intonation.     He  published  for  his  in- 


CLEMENT 


stiument  twenty-five  concertiuos,  sis  con- 
certos, twelve  studies,  and  many  other 
pieces  ;  also  several  compositions  for  jDiano- 
i'orte  and  orchestra,  three  overtures  for  or- 
chestra, and  an  opera. — AUgem.  d.  Biog., 
iv.  319  ;  Fd'tis  ;  Mendel ;  Schilling  ;  Wasie- 
lewski,  Die  Violiue  und  ihre  Meister,  354 

CLEMENT,  JOHANN  GEORG,  born  in 
Breslau,  about  1710,  died  (?).  He  was  Ka- 
pellmeister more  than  fifty  years  of  the 
Church  of  St.  Johann,  Breslau.  Works  : 
Masses,  offertories,  Te  Deum,  etc.,  and  a 
Requiem  performed  at  the  funeral  of  the 
Emperor  Charles  VI.,  17J:2.  None  of  these 
wei'e  published. — Eutis  ;  Mendel. 

CLEMENT  Y  CAVEDO,  MANUEL,  born 
at  Gandia,  Valencia,  Jan.  1,  1810,  still  liv- 
ing, 1888.  He  was  first  organist  in  his  na- 
tive town,  then  in  Algemesi,  and  later  in 
Valencia.  In  1810-50  he  taught  in  Guc'ret, 
France,  then  settled  in  Madrid,  where  he 
j)ublished  an  elementary  work,  Grammatica 
Musicale,  and  an  opera,  Las  rosas  majicas, 
1853.  In  1855,  at  the  request  of  General 
Espartero,  he  furnisheil  a  plan  for  the  ref- 
ormation of  musical  studies  at  the  Conser- 
vatorio.  He  is  the  author  of  a  zarzuela, 
Tres  para  uno  (185G),  and  of  various  ballads 
and  romances. — Fetis,  Supplement,  i.  187  ; 
Riemann. 

CLEMENTI,  MUZIO,  born  in  Rome, 
1752,  died  at  Evesham,  England,  March  9, 
1832.  His  father,  a  silversmith,  spared  no 
expense  in  cultivating  his  son's  talent,  which 
was  evident  at  an  early  age.  The  young 
Muzio's  first  master  was  Buroni,  a  relation 
of  the  Clementi  family,  and  maestro  di  cap- 
l^eUa  at  one  of  the  churches  in  Rome,  who 
taught  him  the  rudiments  of  music.  In 
1759  he  began  to  study  the  organ  under 
Condicelli,  and  in  two  years  he  had  ad- 
vanced far  enough  to  comj)ete  successfully 
for  a  position  as  organist.  He  studied  sing- 
ing also  under  Sartarelli,  and  counterpoint 
under  Carpani,  and  pursued  these  studies 
unintermitteutly  up  to  the  age  of  fourteen. 
At  this  period  an  Englishman  by  the  name 
of  Beckwith  was  so  delighted  with  the  young  j 


artist's  playing  on  the  clavecin,  that  he  asked 
his  father  to  allow  Muzio  to  follow  him  to 
England,  promis-  __ 

ing  to  provide  for 
the  boy's  further 
education.  The 
proposal  was  ac- 
cepted, and  Clem- 
enti  followed 
Beckwith  to  his 
home  in  Dorset- 
shire; here  he 
diligently  pui'- 
sued   his    studies 

until  1770,  paying  especial  attention  to  the 
works  of  Bach,  Handel,  Domeuico  Scarlatti, 
and  Paradies.  At  the  expiration  of  this 
time  he  had  not  only  surpassed  all  his  con- 
temporaries as  a  pianist,  but  had  written  his 
opus  2,  which  may  be  regarded  as  the  true 
type  of  the  j)ianoforte  sonata  in  its  j)erfected 
form.  He  now  went  to  London,  where  his 
success  was  phenomenal.  From  1777  to 
1780  he  was  cembalist  (conductor)  at  the  It- 
alian Opera.  In  1781  he  began  his  profes- 
sional travels,  giving  concerts  in  Paris,  Stras- 
burg,  Munich,  and  Vienna,  and  always  with 
the  greatest  success.  In  Vienna  he  met 
Haydn  and  Mozart,  and,  at  the  request  of 
Emperor  Joseph  H.,  engaged  in  a  sort  of 
musical  contest  with  the  latter  (^Mozart's  let- 
ters, Jan.  12,  1782-June  7,  1783).  Return- 
ing to  Loudon,  he  made  two  more  visits  to 
Paris,  in  1783  and  1785.  From  this  time 
to  1802,  Clementi  stayed  in  Loudon,  oc- 
cupying himself  with  conducting,  concert- 
playing,  and  teaching.  He  became  quite 
rich,  and  on  the  failure  of  the  house  of 
Longman  &  Broderijs,  "  manufacturers  of 
musical  instruments,  and  music  sellers  to 
their  majesties,"  in  which  he  had  an  inter- 
est, he  determined  to  carry  on  the  piano- 
forte-making and  music-publishing  business 
himself  ;  his  success  in  this  venture  jJroved 
him  to  have  a  rare  business  talent.  The 
house  is  still  carried  on  under  the  firm 
name  of  Collard  &  Collard.  In  March, 
1807,   property   belonging  to  the   firm,  to 


CLEMENZA 


the  amount  of  £40,000,  was  destroyed  by 
fire.  In  1802  Clemeuti,  with  his  pupil 
Field,  made  a  successful  tour  to  Paris,  Vi- 
enna, and  St.  Petersburg,  returning  through 
North  Germany.  He  made  a  second  visit 
to  the  Kussian  capital  together  with  Alex- 
ander Klengel  and  Ludwig  Berger.  In 
1810  he  returned  to  London  for  good, 
gave  up  public  playing,  and  devoted  his 
time  to  business  and  composition.  He 
wrote  symphonies  for  the  Philharmonic 
Society  (which  were,  however,  far  less  suc- 
cessful than  Haydn's),  and  many  pianoforte 
works,  completing  his  famous  Gradus  ad 
Parnassum.  In  1820  and  1821  he  passed 
the  winter  at  Leipsic,  but  spent  the  last 
twelve  years  of  his  life  either  in  London 
or  at  his  country-place  in  the  vicinity.  He 
was  man'ied  three  times,  had  children  when 
quite  an  old  man,  and  retained  full  posses- 
sion of  his  faculties  to  the  last.  Clemeuti 
may  be  looked  upon  as  the  real  father  of 
pianoforte-playing,  in  so  far  as  the  treatment 
of  that  instrument  differs  from  that  of  its 
precursors,  the  harpsichord  and  clavecin. 
As  a  comjjosei-,  his  style  was  in  general 
pure,  concise,  and  masterly,  and  it  is  to 
him,  more  than  to  anyone  else,  that  we  owe 
the  application  of  the  perfected  (modern) 
sonata-form  to  the  pianoforte.  His  most 
important  work  is  the  Gradus,  but  some  of 
his  sonatas,  such  as  the  one  in  B  minor,  op. 
40,  the  three  dedicated  to  Cherubini,  op.  50, 
the  one  in  F  minor,  etc.,  are  destined  to  live 

as  long  as  the  pianoforte  itself.  Among  his 
pupils  may  be  mentioned  John  Field,  J.  B. 
Cramer,  Zeuner,  Alexander  Klengel,  Lud- 
wig Berger,  Meyerbeer,  Kalkbrenner,  and 
others.  Works  :  Six  sonatas  for  piano- 
forte, op.  1  ;  do.  (2  sets),  op.  3,  4  ;  do.,  op. 
13  ;  Three  sonatas,  op.  14  ;  do.,  op.  21  ;  do., 
op.  40  ;  do.,  op.  50  ;  do.  with  violin,  op.  22  ; 
do.,  op.  27  ;  Sonatas,  op.  5-10,  op.  15,  16  (La 
Chasse),  18,  19,  20,  32,  33,  35,  41.  46  ;  Six 


sonatas  for  pianoforte  and  flute  or  violin, 
op.  2  ;  Four  sonatas  and  a  duet  for  piano- 
forte, op.  12  ;  Capriccio,  op.  17  ;  Sonatas 
for  pianoforte  and  violin,  op.  29-30  ;  Two 
sonatas  and  two  capriccios  for  pianoforte, 
op.  34  ;  Sonatinas,  etc.,  op.  36,  37  ;  Waltzes, 
op.  38,  39  ;  Introduction  to  the  art  of  plaj'- 
ing,  op.  42  ;  do.,  second  part,  op.  43 ;  Gra- 
dus ad  Parnassum,  op.  44  ;  Two  capriccios, 
op.  47  ;  Fantasia,  op.  48  ;  Twelve  Monfer- 
rinas,  op.  49  ;  Detached  pieces,  op.  51. 
— Fetis ;  Clument,  Mus.  celebres,  198. 

CLEMENZA  DI  AUGUSTO,  LA  (The 
Clemency  of  Augustus),  opera  drama,  mu- 
sic by  Johanu  Joseph  Fux,  represented  at 
the  fete  patronale  of  the  Emperor  Leopold 
I.,  Vieima,  1702. 

CLEMENZA  DI  SCIPIONE,  LA,  Italian 
opera,  music  by  Johann  Christian  Bach, 
represented  at  Breslau,  about  1770. 
,  CLEMENZA  DI  TITO,  LA  (The  Clem- 
ency of  Titus),  Italian  opera  in  three  acts,  text 
j  by  Metastasio,  first  set  to  music  by  Caldera 
land  represented  at  Vienna,  Nov.  4,  1734. 
Subject,  an  incident  in  the  life  of  Titus,  re- 
j  lated  by  Suetonius  and  others,  in  which  he 
I  pardons  the  chief  actors  in  a  conspiracy 
against  himself.  Scene  in  Eome.  Charac- 
ters represented  :  Tito  Vespasiano,  Emper- 
or of  Eome  ;  Vitellia,  daughter  of  the  Em- 
peror Vitellio  ;  Servilia,  sister  of  Sesto,  in 
love  with  Annio  ;  Sesto,  friend  of  Tito,  in 
love  with  ViteUia  ;  Annio,  friend  of  Sesto, 
in  love  with  Servilia ;  Publio,  prsetorian 
prefect.  The  libretto  has  been  set  to  mu- 
sic also  by  Leo,  Naples,  1735  ;  by  Johann 
Adolph  Hasse,  Dresden,  1737  ;  by  Wagen- 
seil,  Vienna,  1746  ;  by  Pampani,  Italy,  1748  ; 
by  Perez,  Naples,  1749 ;  by  Gluck,  Naples, 
1751  ;  by  Adolfati,  Vienna,  1753  ;  by  Jom- 
melli,  Stuttgart,  about  1758 ;  by  Cocchi, 
London,  1760  ;  by  Naumann,  Dre.sden, 
1768  ;  by  Bernasconi,  Mannheim,  1768  ;  by 
Anfossi,  Rome,  1769 ;  by  Sarti,  Padua, 
1771  ;  by  Holzbauer,  Munich,  about  1780  ; 
by  Guglielmi,  Turin,  1785  ;  by  Apell,  about 
1785  ;  by  Ottani,  Turin,  1789  ;  by  Mozart, 
Prague,  Sept.  6,  1791 ;  and  NiccoHni,  Leg- 


r.^A 


CLEOFIDA 


born,  1797.  Mozart's  work,  the  text  of 
which  was  adapted  from  Mestastasio  by 
Mazzola,  was  written  at  the  invitation  of 
the  Estates  of  Bohemia  for  the  coronation 
at  Prague  of  Leopold  II.  The  autograph, 
which  is  wholly  in  Mozart's  handwriting, 
contains  no  recitatives.  They  were  sup 
plied  by  Siissmaj'er,  who  accompanied  him 
to  Prague. 

CLEOFIDA.     See  Poro. 

CLEOPATEA,  Italian  opera,  music  by 
Daniele  Castrovillari,  represented  in  Venice, 
1662  ;  bj'  Pasquale  Anfossi,  text  by  Verazi, 
Milan,  1778  ;  by  Cimarosa,  St.  Petersburg, 
1790  ;  by  Weigl,  text  by  Romanelli,  La  Seala, 
Milan,  1807  ;  by  Ferdinand  Paor,  Paris, 
1809  ;  by  Nasolini,  three  acts,  Paris,  Dec.  1, 
1813  ;  by  Combi,  Genoa,  1842  ;  by  Lauro 
Eossi,  Turin,  March  5,  1876  ;  by  Sacchi,  text 
by  Rabitti,  Milan,  Nov.  23,  1877  ;  by  Boua- 
mici,  Venice,  Feb.  8,  1879.  Cli'opatre,  four 
acts,  by  Baroness  de  Maistre,  text  by  Bo- 
gros,  Paris,  about  1860  (not  performed). 
Kleopatra,  German  oj)era,  music  by  Matthe- 
ison,  text  by  Feustking,  Hamburg,  1704  ;  mel- 
odrama, music  by  Danzi,  Mannheim,  1779  ; 
parody,  by  Ad.  Miiller,  Vienna,  about  1830  ; 
by  Hieronymus  Truhn,  Berlin,  18.53  ;  by 
Freudeuberg,  text  by  Pasque,  four  acts, 
Magdeburg,  Jan.  12,  1882.  Cleopatra  e  Ce- 
sare,  by  Karl  Heinrich  Graun,  text  by  Bot- 
tarelli,  Berlin,  Dee.  7,  1742.  La  morte  di 
Cleopatra,  by  Gaglielmi,  two  acts,  Naples, 
1798  ;  by  Gaetano  Marinelli,  text  by  Rossi 
and  Sografi,  Venice,  1800.  Autonius  und 
Kleopatra,  duodrama,  two  acts,  by  Johann 
Christian  Kaffka,  Berlin,  1779 ;  by  Graf 
von  Sayn-Wittgenstein,  text  by  Moseuthal, 
Gratz,  Dee.  1,  1883.  Les  amours  d'An- 
toine  et  Cleopatre,  by  Rodolphe  Kreutzer, 
three  acts,  Paris,  March  8,  1808.  Une  Nuit 
de  Cleopatre,  text  by  Jules  Barbier,  after 
the  story  with  the  same  title,  by  Theophile 
Gautier,  music  by  Victor  Masst',  Opi'ra 
Comique,  Paris,  April  2.5,  1885. 

CLICHY,  A,  oj)era-comique  in  one  act, 
text  by  Dennery  and  Grange,  n»usic  by 
Adolphe  Adam,  represented  at  the  Theatre 


Lyri(]ue,  Paris,  Dec.  24,  1854.  A  poet  and 
a  musician  meet  in  the  debtors'  j)rison  at 
Clichy  and  form  there  a  friendship  which  a 
return  to  fortune  renders  durable. 

CLIFTON,  JOHN  CHARLES,  born  in 
London  in  1781,  died  there,  Nov.  18,  1841. 
Composer  of  songs  and  glees,  pupil  of  R. 
Bellamy  and  of  Charles  Wesley ;  intimately 
associated  with  Cimador  and  Spagnoletti, 
who  helped  to  form  his  taste.  He  resided 
in  Dublin  fourteen  years?,  and  finally  settled 
in  Loudon,  in  1818.  His  glee,  "Tell  me, 
thou  soul  of  her  I  love,"  gained  a  piize  in 
1837.  Remarkable  among  his  many  com- 
positions are  the  glee,  "  'Twas  in  the  dark  and 
dismal  hour"  ;  and  the  songs,"  Such  tears  are 
bliss,"  and,  "If  music  be  the  food  of  love." 

CLINIO,  TEODORO,  born  in  Venice 
in  the  16th  century,  died  in  1G02.  He  was 
canon  of  the  Church  of  S.  Salvatore,  and 
maestro  di  cajJisella  of  the  Cathedral  of  Tre- 
j  viso,  in  1590.  Works  :  Missse  sex  vocum, 
lib.  i.,  mentioned  in  the  catalogue  of  the 
librarj-  of  the  King  of  Portugal ;  Suite  of 
motets  for  three  voices,  for  the  Sunday  of 
Passion  Week,  with  tlie  title.  Vox  Domini 
(Venice,  1595).  In  MS.  :  Falsi  bordoni  a 
otto  voci. — Fetis  ;  Mendel. 

CLOCHES  DE  CORNEVILLE,  LES 
(The  Bells  of  Corneville),  opera-comique  in 
three  acts,  text  by  Clairville  and  Charles 
Gabet,  music  by  Robert  Planquette,  given 
at  the  Folies  Draniatiques,  Paris,  April  19, 
1877.  The  libretto  is  little  better  than  a 
plagiarism  of  Martha  and  of  La  Dame 
blanche  ;  the  music  is  melodious  and  popu- 
lar. The  work  had  great  success  in  Paris 
and  London,  where  it  was  adaj)ted  to  the 
English  stage  by  Farnie  and  Reece,  and  pro- 
duced at  the  Folly  Theatre,  Feb.  23,  1878. 

CLOCK  SYMPHONY,  by  Joseph  Haycbi, 
first  jDerformed  at  Salomon's  concerts,  Lon- 
don, 1794.  Date  on  autograph  score,  1794. 
The  symphony  is  No.  11  in  the  catalogue  of 
the  London  Philharmonic  Society,  and  No. 
4  in  Breitkopf  k  Hiirtel's  edition  (Leipsic). 

CLYTEMNESTRE,  cantata  for  solo,  with 
accompaniment,   full  score,  by  Cherubini, 


COBBOLD 


composed  in  1794  This,  the  composer's 
fourth  cantata,  was  written  for  "  Mme  B., 
of  Havre."  It  is  No.  207  in  Bellasis's  cata- 
logue. 

COBBOLD,  \\TLLIAM,  English  com- 
poser of  the  16th  and  the  17th  century. 
Nothing  is  known  of  his  life.  He  was  one 
of  the  ten  musicians  who  harmonized  the 
tunes  for  "  The  "Whole  Booke  of  Psalmes  " 
published  by  Thomas  Este  (1592).  His 
madrigal,  With  wreaths  of  rose  and  laurel, 
is  in  the  Triumphes  of  Oriana.  Two  other 
compositions  :  New  Fashions,  and  an  an- 
them, In  Bethlehem  Towne,  are  in  the 
library  of  the  Sacred  Harmonic  Society, 
Loudon. — Grove  ;  Fetis  ;  Mendel. 

COBERG,  JOHANN  ANTON,  born  at 
Rothenburg,  Hesse,  1650,  died  in  Hanover, 
1708.  Composer,  pupil  on  the  harpsichord 
and  in  harmony  and  counterpoint,  at  Han- 
over, of  Clamor  Abel  and  Nicolas  Adam 
Strunck.  He  was  first  organist  to  the  new 
town  of  Hanover,  and  then  to  the  Electo- 
ral court,  where  Elector  Ernst  August  and 
Duke  Johanu  Friedrich  became  his  pat- 
rons. When  the  young  King  of  Prussia 
married  one  of  the  princesses,  he  followed 
them  to  Berlin,  where  he  tilled  important 
positions.  He  left  a  quantity  of  church 
music,  pieces  for  harpsichord,  and  rules  for 
accompaniment,  all  in  MS.,  most  of  which 
ai'e  owned  by  the  Hanoverian  court. — Fe- 
tis ;  Gerber  ;  Mendel ;  Schilling. 

COCCHI,  GIOACCHINO,  born  in  Padua 
in  1720,  died  in  Venice  in  1804.  Dramatic 
composer  and  teacher.  He  was  in  Rome 
in  1743—16,  in  Naples  in  1750,  was  appoint- 
ed maestro  di  cappella  of  the  Conservatoi'io 
degl'  lucurabili,  Venice,  in  1753,  and  re- 
sided in  London  as  composer  to  the  Opera 
from  1757  to  1773.  In  the  latter  year  he 
returned  to  Venice,  and  took  his  old  posi- 
tion in  the  Conservatorio.  His  composi- 
tions were  generally  in  the  bufifo  style. 
Works  :  L'  Elisa,  given  at  Naples,  1741  ; 
Adelaide,  Rome,  1743;  Bajasette,  ib.,  1746; 
Giuseppe  riconosciuto,  Naples,  1748 ;  Ar- 
minio,  farsetta  in  musica,  Rome,  1749  ;   La 


serva  bacchettona,  Naples,  1749  ;  Siroe,  rb 
di  Persia,  La  Gismonda,  ib.,  1750  ;  La 
Maseherata,  1751 ;  Le  donne  vendicate  and 
La  serva  astuta,  1752  ;  II  pazzo  glorioso, 
Semiramide  riconoseiuta,  Rosaura  fedele, 
Venice,  1753  ;  Demofoonte,  ib.,  1754 ;  I 
matti  i^er  amore,  Zoe,  Emira,  ib.,  1756  ; 
Gli  amanti  gelosi,  London,  1757  ;  Zenobia, 
Issii^ile,  ib.,   1758  ;  II  tempio  della  gloria, 

1759  ;  La  clemenza  di  Tito,  Erginda,  ib., 

1760  ;  Tito  Manlio,  Grande  serenata,  Ales- 
saudro  nell'  Indie,  ib.,  1761 ;  Le  nozze  di 
Dorina,  La  tamiglia  in  scompiglio,  ib., 
1762  ;  La  mestra,  opera  bufl'a,  written  in 
collaboration  with  several  others. — Fetis,  ii. 
326  ;  do.,  Sujjploment,  i.  188  ;  Grove  ;  Men- 
del ;  Schilling. 

COCCIA,  CARLO,  born  in  Naples,  April 
14,  1782,  died  at  Novara,  April  13,  1873. 
Dramatic  composer  and  conductor,  son  of  a 
violinist ;  pupil  in  singing,  when  nine  years 
old,  of  Pietro  Casella.  He  began  compos- 
ing at  an  early  age,  and  when  sixteen  had 
written  a  serenade,  several  solfeggi,  and  a 
cantata  with  j^ianoforte.  In  the  Conser- 
vatorio he  studied  composition  and  sing- 
ing under  Fenaroli,  Paisiello,  and  Saverio 
Valente.  Through  Paisiello's  influence  he 
was  appointed  accompanist  to  King  Joseph 
Bonaparte.  In  1829  he  went  to  Lisbon, 
where  he  was  engaged  for  two  years  as 
composer  to  the  theatre,  and  in  1823-24  he 
i  conducted  the  Italian  Opera  in  London. 
He  was  also  for  a  short  time  professor  of 
composition  at  the  Academy  of  Music,  Lon- 
don. In  1828  he  returned  to  Italy,  and 
after  a  second  visit  to  Loudon  in  1833 
settled  in  Italy,  succeeding  Mercadante  in 
1836  as  maestro  di  cappella  at  Novara.  He 
was  also  appointed  inspector  of  singing  at 
the  Aceademia  Filarmonica,  Turin.  He 
wrote  with  great  raj^idity,  and  his  comijo- 
sitions  were  highly  thought  of  in  his  day. 
Works — Operas  :  II  matrimonio  per  cam- 
biale,  given  in  Rome,  Teatro  Valle,  1808  ; 
II  poeta  fortunate,  Florence,  1809  ;  L'  equi- 
voco,  o  le  vicende  di  Martinaccio,  opera 
buifa,  Bologna,  Teatro  Marsigli,  1809 ;   La 


OOCCIOLA 


veritfi  iicUa  bugia,  Venice,  1810  ;  Voglia  di 
dote  6  non   di  moglie,  Ferr.ara,  1810  ;   La 
Matilde,  ib.,  1811  ;  I  solit:iri,  II  soguo  veri- 
licato,  Venice,  1812  ;  Arriglietto,  La  selvag- 
gia,  ib.,  1814  ;  Euristeo,  ib.,  1815  ;  Evelina, 
Milan,  1815  ;  I  begli  nsi  di  cittii,  ib.,  1816  ; 
Medea  e  Giasoue,  Turin,  Teatro  Kegio,  1815  ; 
Clotilde,  Venice,  1816  ;  Einaldo  d'  Asti,  Car- 
lotta  e  Werther,  Rome,  1816  ;  Claudine,  Tu- 
rin, 1817  ;  La  vera  gloria,  cantata,  Padua, 
1817  ;  Etelinda,  Venice,  1817  ;  Simile,  Fer- 
rara,   1817  ;   Donna  Caritea,   Turin,   1818  ; 
Fayel,  Florence,  1819  ;  La  fedeltii,  cantata, 
Trieste,  1819  ;  Cantata  for  the  birth  of  the 
King  of  Rome,  Treviso,  1811  ;   Cantata  for 
tbe  entrance  of  the  allies  into  Paris,  Padua, 
1814  ;  Atar,  Lisbon,  1820  ;  H  Lusitano,  can- 
tata, ib. ;  Mandane,  regina  di  Persia,  Elena 
e  Costaiitino,  ib.,  1821 ;  La  testa  della  rosa, 
opera  buffii,  ib.,  1822  ;  Maria  Stuarda,  Lon- 
don, 1827  ;  L'  orfano   della  selva,  Venice, 
1829  ;  Rosamunda,  Naples,  1831 ;  Odoardo 
Stuart,  Milan,  1832;   Eurico  di  Moutfort, 
Catarina  di  Guisa,  ib.,  1833  ;  Ero  e  Lean- 
dro,  farce,  London,  1833;  Ser  Marc'  Anto- 
nio'Bologna,  1834;   Maifa,  Naples,  1834; 
La  figlia  dell'  arciere,  Naples,  1834  ;  La  soli- 
taria^delle  Asturie,  ib.,  1835  ;  Giovanna  H., 
regina  di  Napoli,  ib.,  1836;  II  lago  delle 
fat°e,  Turin,  1841.     Besides  operas,  be  wrote 
a  great  deal  of  chamber  music,  twenty-ftve 
masses,  fifteen  motets,  twenty-one  vespers, 
etc.— Fetia  ;  do..  Supplement,  i.  188;  Men- 
del ;  Schilling. 

COCCIOLA,  GIOVANNI  BATTISTA, 
born  in  Vercelli,  Piedmont,  about  the  end 
of  the  16th  century.  Kapellmeister  to  Leo 
Sapieha,  chancellor  of  Lithuania.  Some  of 
his  motets  are  in  the  "Paruasso  musico 
bergameuo,"  which  led  Frezza  to  believe 
that  he  was  born  at  Bergamo.  He  left  a 
mass  for  eight  voices  with  basso  continuo 
(Venice,  1612).— Fetis  ;  Mendel. 

COCCON,  NICOLO,  born  in  Venice, 
Aug.  10,  1826,  still  living,  1888.  Dramatic 
composer,  pupil  of  E.  Fabio.  He  published 
some  motets  at  the  age  of  fifteen,  became 


<U  cappella  in  1873.  Works :  Uggero  il 
Danese,  opera  ;  Zaira,  do. ;  SaUl,  oratorio  ; 
Thirty  masses;  Eight  Requiems,  and  of 
other"  church  music  about  four  hundred 
^■orks.— Fetis,    Supplement,    i.    188  ;    Rie- 

mann. 

CCEDES,  AUGUSTE,  born  in  1835,  died 
in  Paris,  July  14,  1884.  Dramatic  com- 
poser ;  at  first  a  prompter  at  the  Op6ra,  he 
became  chorus-master  at  the  Theatre  Ly- 
rique,  Paris.  He  began  by  writing  chan- 
sons, romances,  and  dance  music.  His  first 
successful  effort  was  the  ballet  music  for  Le 
bouquet  de  Lise,  after  which  he  wrote  that 
of  La  Cocotte  aus  oeufs  d'or,  a  fairy  spec- 
tacle, with  Herve  and  Raspail  in  1873. 
His  La  belle  Bourbonuaise,  opera-comique, 
played  at  the  Folies  Dramatiques,  April  11, 
1874,  was  a  work  of  still  greater  merit. 
Other  works  :  Clair  de  lune,  1875  ;  Trouba- 
dour de  Pendule;  La  grande  demoiselle. 
He  published  a  collection  of  fifteen  vocal 
melodies  with  the  title  Soirees  d'Automne. 
— Fitis,  Supplement,  i.  189. 

COENEN,  FRANS,  bom  in  Rotterdam, 
Dec.  26,  1826,  still  living,  1888.  Violinist, 
son  of  an  organist ;  pupil  of  Molique  and 
of  Vieuxtemps.  He  travelled  for  six  years 
in  America  and  the  West  Indies,  giving  con- 
certs, first  with  Henri  Herz,  and  afterwards 
with  the  pianist,  Ernst  Liibeck.  He  held 
the  position  of  solo  violin  to  the  King  of  the 
Netherlands,  and  is  professor  of  violin  and 
harmony  at  the  Music  School  of  the  Amster- 
dam Society  for  the  Encouragement  of  Mu- 
sic. He  is  best  known  as  a  chamber  mu- 
sician, and  has  founded  the  best  quartet 
society  in  Amsterdam.  Among  his  compo- 
sitions are:  The  thirty-second  psalm,  for 
orchestra  and  chorus  ;  several  cantatas ;  a 
symphony  ;  quartets  and  other  nnisic  for 
strings.— Fetis,  Supplement,  i.  190 ;  Rie- 
mann  ;  Viotta. 

COENEN,  JOHANNES  MEINARDUS, 
born  at  the  Hague,  Jan.  28,  1825,  still  liv- 
ing, 1888.  Virtuoso  on  the  bassoon,  pupil 
at'the  Conservatoire  of  the  Hague.     He  was 


soitip  motets  at  tne  age  oi  mieeii,  uci_.viuc   i»>-  ^" ^,        i   mi  --i 

orgiiSof  S.  Marco  in  1856,  and  maestro  1  leader  of  orchestra  at  the  Grand  Theatre, 


337 


COGAN 


Amsterdam,  in  186i.  Works  :  Ada  vou 
Holland  op  Tessel,  cantata  for  solo,  chorus, 
and  orchestra  ;  Symphony  for  full  orches- 
tra ;  Ouverture  de  Floris  V  ;  Ouverture  du 
roi  de  Bohcme  ;  Music  for  the  following  dra- 
mas :  De  Berggeest ;  Het  Spook ;  De  Amster- 
darasche  Yungen  ;  De  jwarte  Duivel ;  and 
the  cantata,  Chant  de  fote,  for  voices,  or- 
chestra, and  organ,  given  at  the  Palais  de 
rindustrie,  Amsterdam,  Oct.  27,  1875,  for 
the  six  hundredth  anniversary  of  the  foun- 
dation of  Amsterdam.  He  has  written  also 
for  the  bassoon,  violoncello,  and  jjianoforte  ; 
a  national  overture,  concert  overture,  con- 
certos, etc. — Fetis,  Supplement,  i.  190  ; 
Mendel,  Ergiinz.,  66  ;  Riemann  ;  Viotta. 

COGAN,  PHILIP,  born  in  Doncaster, 
England,  in  1757  (Cork,  1750  ?),  died  about 
18-28  (1834?).  Organist,  choirman  of  the 
Cathedral  of  St.  Finbar,  Cork,  and  in  1772 
stipendiary  of  Christ  Church,  Dublin.  Pub- 
lished works  :  Six  sonatas  for  pianoforte 
with  violin  accompaniment,  op.  2  (London, 
1788)  ;  Concerto  favori  for  pianoforte  with 
two  violins,  viola,  bass,  two  flutes,  and  two 
horns,  op.  6  (ib.,  1792) ;  New  lessons  for 
harpsichord,  op.  8  (ib.). — Fetis  ;  Mendel. 

COHEN,  HENRY,  born  in  Amsterdam,  in 
1808,  died  at  Brie-sur-Marne,  May  17,  1880. 
Dramatic  composer.  His  parents  settled  in 
1811  in  Paris,  where  he  studied  liarmony 
under  Reicha,  singing  under  Lays,  and 
later  under  Pellegrini,  from  1826  to  1830. 
His  first  compositions  were  fugues,  roman- 
ces, and  nocturnes  for  the  pianoforte,  but 
in  1832  he  went  to  Naples  and  produced,  at 
the  Teatro  Feuice,  an  opera  L'imjiegna- 
trice.  Being  unfortunate  with  others,  he 
returned  in  1834  to  Paris,  and  publislied 
several  romances.  He  went  to  Naples  again 
in  1838,  but  his  Avviso  ai  maritati,  written 
for  the  Teatro  Nuovo,  was  prohibited  by 
the  police,  and  he  again  returned  to  Paris 
in  1839,  and  taught  singing.  In  1847  he 
brought  out  a  lyrical  poem,  Faust  et 
Marguerite,  which  was  received  at  the  Con- 
servatoire, and  in  1851  he  produced  Le 
Moine,   another   lyrical  poem,    which   was 


given  by  the  new  Philharmonic  Society 
of  London,  under  Berlioz.  He  published  : 
Traite  d'harmonie  pratique,  and  a  collec- 
tion of  eighteen  Solfeges  in-ogressifs  a  trois 
et  quatre  voix  (Paris,  S.  Richault). — Ft'tis  ; 
do..  Supplement,  i.  190  ;  Mendel ;  Riemann ; 
Viotta. 

COHEN,  JULES,  born  in  Marseilles, 
Nov.  2,  1830,  still  living,  1888.  Pianist  and 
composer,  was  placed  by  Halevy's  advice  as 
a  pujiil  at  the  Conservatoire,  whei'e  he  won 
the  prize  for  solfege  in  1847  ;  pupil  of  Zim- 
merman on  the  pianoforte,  and  subsequently 
of  Marmontel.  He  obtained  the  first  prize 
for  pianoforte  in  1850,  the  first  organ  prize, 
as  a  pupil  of  Benoist,  in  1852,  the  second 
prize  in  counterpoint  and  fugue,  as  pupil  of 
Hald-vy,  in  1853,  and  the  first  in  1854.  In 
1855  his  name  was  inscribed,  at  the  Institut 
de  France,  among  the  candidates  for  the  jirix 
de  Rome,  for  comjjosition,  which  gives  the 
winner  four  years'  study  at  the  expense 
of  the  government.  Jules  Cohen  being 
wealthy,  he  generously  retired  from  the 
competition  when  Halevy  suggested  that  it 
was  more  than  possible  that  he  woukl  win 
it,  and  in  acknowledgment  of  this  sacrifice 
he  was  appointed  professor  in  the  Conserva- 
toire. Of  his  numerous  works,  his  church 
compositions,  O  Salutaris,  Ave  Regina,  Ave 
Verum,  Agnus  Dei,  Pie  Jesu,  Messe  des 
Morts  j^oi'i'  "^oix  d'hommes,  have  been 
sung  in  many  of  the  Paris  churches.  Among 
his  orchestral  works  are  two  symphonies, 
an  overture  in  F,  one  in  D,  another  in  G, 
and  many  cantatas  and  choruses,  most  of 
which  have  been  given  at  the  concerts  of 
the  Salle  Herz  and  at  the  Conservatoire 
exercises.  For  the  theatre  he  has  written  : 
Maitre  Claude,  given  at  tlie  Opt'ra  Comique, 
1861  ;  Josu  Maria,  ib.,  1866  ;  Les  bkii<'li<, 
Theatre  Lyrique,  1867  ;  Dea,  Opera  Co- 
mique, 1870  ;  other  works  :  Vive  I'Empereur, 
cantata,  ib,,  1860  ;  L'annexion,  do..  Opera, 
1860  ;  Music  for  the  choruses  in  Athalie, 
Esther,  and  Psyche,  performed  at  the  Thea- 
tre Franyais.  A  great  deal  of  pianoforte 
music,  thirty  romances  sans  pai'oles,  chan- 


COICK 


sous,  niazoai'kas,  elegies,  and  twelve  grandes 
etudes  ;  he  has  also  composed  for  the  har- 
luoniuni.  Among  vocal  pieces  are  twenty 
Romances,  etc. — Fetis  ;  Mendel ;  Riemanu. 

COICK  (Le  Goq),  GIAN  LE,  born  in 
1520,  flourished  in  the  middle  of  the  16tb 
century.  Several  of  his  motets  and  chan- 
sons are  in  the  collections  of  that  time,  par- 
ticularly among  those  published  by  Tylmau 
Susato,  at  Antwerp,  in  IS-tS.  One  of  these 
is  remarkable,  a  chanson  for  five  voices,  two 
of  which  form  a  canon  by  retrograde  move- 
ment, while  the  other  three  furnish  an  ac- 
compauinicnt  in  fugued  counterpoint. — Fe- 
tis ;  Mendel. 

COIGNET,  HORACE,  born  in  Lyons,  in 
173G,  died  there,  Aug.  29,  1821.  He  was 
a  merchant  who  took  uj)  music  late  in  life. 
He  wrote  the  music  for  Jean  Jacques 
Rousseau's  Pygmalion,  represented  at  the 
Theatre  Franyais  in  1775,  and  composed 
Le  medecin  de  I'amour. — Fetis  ;  Mendel. 

COLA  DI  RIENZI,  opera  seria,  text  by 
Bottura,  music  by  Luigi  Ricci,  the  younger, 
represented  at  the  Teatro  Fen  ice,  Venice, 
Feb.  21,  1880. 

COLASSE,  PASCAL,  born  in  Paris  (or 
at  Rheims)  in  1639  (1G36  ?),  died  at  Ver- 
sailles in  December,  1709.  Dramatic  com- 
poser, pupil  of  Lulli,  who  employed  him  to 
fill  in  the  choral  and  orchestral  parts  of  his 
own  operas,  for  which  Lulli  \vrote  only  the 
air  and  the  bass.  After  his  master's  death 
Colasse  was  accused  of  using  manuscripts 
which  Lulli  had  thrown  aside  as  incom- 
plete. He  was  one  of  the  chamber  musi- 
cians of  Louis  XIV.  from  1G83,  and  always 
enjoyed  the  king's  jjatronage,  but  his  op- 
eras were  never  very  popular.  An  opera 
house  at  LiUe  was  destroyed  by  fire,  and 
this  in  connection  with  the  failure  of  his 
opera  Pol3-xene  et  Pyrrhus,  170G,  unsettled 
his  mind.  His  opera  Les  noces  de  Thetys 
et  Pelee,  1G89,  was  his  best.  Works— Op- 
eras: Enee  et  Lavinie,  1690;  Aslree,  1691; 
Le  ballet  deVilleneuve  Saint-Georges,  1G92  ; 
Les  saisons,  1695  ;  Jason,  ou  la  toisou 
d'or,  169G  ;  Naissance  de  Venus,  1G9G  ;  Ca- 


nente,  1700.  These  were  all  given  at  the 
Academic  de  Musique.  The  Library  of  the 
Arsenal,  Paris,  has  the  original  MS.  of  .\ina- 
ryllis,  a  pastoral,  1689.  L'Amour  et  I'Hy- 
men,  written  for  the  Prince  de  Conti's 
marriage,  and  the  music  for  a  ballet  of  the 
Jesuites,  are  in  the  Philidor  collection,  in 
the  Library  of  the  Conservatoire,  Paris. 
— Fetis  ;  Mendel ;  Riemann. 

COLBORNE,  LANGDON,  born  in  Lou- 
don, Sept.  15,  1837,  still  living,  1888.  Or- 
ganist, successively  at  Tenbury  (1860),  of 
Beverley  Minster  (1874),  Wigan  parish 
church  (1875),  Dorking  do.  (1877),  and 
Hereford  Cathedral  (1877).  "Works  :  Com- 
plete Service  in  C  ;  Magnificats  and  Nunc 
dimittis  in  D,  A,  and  B-flat ;  Te  Deum  and 
Benedictus  in  E-fiat ;  Anthems ;  Part- 
songs  ;  Songs,  etc. 

COLINETTE  A  LA  COUR,  ou  La  double 
epreuve,  opera  in  three  acts,  in  verse,  text 
by  Lourdette  de  Santerre,  music  by  Gretry, 
rejjresented  at  the  Academie  Royale  de  Mu- 
sique, Paris,  Jan.  1,  1782.  Subject  from 
Favart's  comedy,  "Le  caprice  amoureux,  ou 
Ninette  a  la  cour,"  played  at  the  Italiens  in 
1755,  the  idea  of  which  was  borrowed  from 
an  Italian  opera  entitled  Bertoldo  in  Corte. 
The  music  is  agreeable,  but  this  is  not  one 
of  Gretry's  best  works. 

COLERUS  (Kohler),  MARTIN,  born  in 
Dautzic,  about  1620,  died  in  Hamburg,  in 
1704.  Composer  of  church  music.  In  IGGl 
he  was  at  Hamburg,  and  became  Kapell- 
meister to  a  church  in  Brunswick  in  1665  ; 
two  years  later,  16()7,  he  was  in  the  employ 
of  the  Margrave  of  Bayreuth,  and  in  1670 
was  in  Holstein.  It  is  not  known  precisely 
how  long  he  remained  there,  but  he  is 
said  to  have  wandered  about  till  he  came 
to  Hamburg  in  his  old  age.  Among  his 
compositions  are  :  Melodien  zu  Ristens  Pas- 
sionsandaehten  (Hamburg,  1648).  Hein- 
rich  Pape  wrote  the  greater  number  of  the 
melodies  in  this  collection.  Die  Hochzeit- 
liche  Ehrenfackel  dem  Hrn.  von  Harden- 
berg  zu  Zell  angeziindet  und  ucborschickt 
von  Martino  Colero  aus  Danzig,  etc.    (Ham- 


COLEPaiS 


burg,  1661)  ;  Sulamitische  Seelen-Harmo- 
uie,  das  ist  einstiuimiger  Freudenball  et- 
licher  geistlicber  Psalmeu  (Hamburg,  1062). 
— Fetis ;  Meudel  ;  Gerber,  i.  7.56  ;  Schil- 
ling, iv.  174  ;  Wiuterfeld,  Der  evan. 
Kirchengesaug,  ii.  429.  i 

COLERUS  (Koeler),  VALENTIUS,  born  ' 
at  Erfurt,  about  1550.  Church  Composer 
aud  cautor,  at  Sondersliausen.  Works : 
Three  masses  aud  three  magnificats  (Erfurt, 
1599)  ;  Cantionum  sacrarum,  quse  vulgo 
motettsB  appellautur,  4-8  et  pluribus  voci- 
bus  concinnatarum,  libri  1  et  2  (Urseren, 
1604) .  There  was  a  Capuchin  monastery 
with  a  beautiful  church  at  Urseren,  in  a 
narrow  valley  of  the  St.  Gothard,  near  the 
Devil's  Bridge,  and  Colerus  must  have  re- 
tired to  it  and  have  written  there  his  two 
books  of  motets,  which  the  monks  had 
printed  at  their  expense,  according  to  their 
title-page.  Newe  lustige  liebliche  und 
artige  luti-aden,  Tiinze  und  Gagliardeu  auff 
allerley  Saiteuspiel  (Jena,  1609). — Fetis; 
Meudel. 

COLETTI,  AGOSTINO  BONA  VEN- 
TURA, born  in  Lucca,  about  the  beginning 
of  the  18th  century,  died  in  Venice,  in  1752. 
Dramatic  comjioser.  He  was  made  third 
organist  of  the  Ducal  Chajjel,  S.  Marco, 
Venice,  in  1714,  and  full  organist,  in  Lotti's 
place,  in  1736,  and  held  this  position  until 
his  death.  He  brought  out  two  operas  in 
Venice  :  Iligenia,  1706,  and  Paride  in  Ida 
(with  Manzi),  1706.  He  published :  Ai-- 
monici  Tributi,  o  XH  cantate  a  voce  sola 
e  cembalo  (Lucca,  1709). — Fetis. 

COLIN,  JEAN,  born  at  Beaune  (Cote- 
d'Or),  France,  about  1637,  died  in  1722. 
Church  composer,  ma.itre  de  chapelle  of 
the  Cathedral  of  Soissous.  Works  :  Missa 
sex  vocibus  sub  modulo  :  Ego  flos  campi 
(Paris)  ;  Missa  pro  defunctis,  sex  vocibus 
(Paris,  1688).— Fetis  ;  Mendel. 

COLIN,  PIERRE  GILBERT,  surnamed 
Chamault,  lived  in  the  first  half  of  the  16th 
century.  He  was  maitre  de  chapelle  to 
the  royal  children  of  France  in  the  reign 
of  Francois  L,  from  1532  to  1536.     After 


leaving  the  king's  household  he  was  master 
of  the  choristers  at  Autun.  A  collection  of 
his  masses  was  published  at  Lyons  with  the 
title  :  Liber  octo  luissarum,  etc.  (1541). 
Six  of  these  masses  are  for  four  voices,  the 
seventh  is  for  five  and  the  last  for  six  (2d 
ed.,  Lyons,  1552).  It  contains  a  Requiem 
Mass  by  Richafort,  besides  motets  and  a 
Magnificat  by  Colin.  The  3d  book  of  his 
masses  (Venice,  1544)  is  a  reprint  ;  a  new 
edition  was  printed  by  Claudio  Merulo 
(Venice,  1547).  Other  masses  were  pub- 
lished by  Duchemin  (1556),  and  some  of 
his  motets  are  in  the  fourth  book  of  motets 
published  by  Jacques  Moderne  (Lyons, 
1539),  aud  in  another  book  dated  1543. 
D'Attaignant's  twelfth  book  of  Chansons 
NouveUes  has  one  of  Colin's  chansons. 
—Fetis  ;  Meudel. 

COLIZZI,  GIOVANNI  ANDREA,  born 
in  Italy  about  1740,  died  (?).  He  travelled 
through  Hanover,  Holland,  and  England, 
and  at  last  settled  in  London.  Works  :  A 
collection  of  chansons,  with  harpsichord 
(Brunswick,  1766)  ;  Concerto  for  pianoforte, 
with  orchestral  accompaniment ;  6  sonatas 
for  the  harpsichord,  op.  2  ;  6  sonatas  for 
the  harp.sichord,  op.  4  ;  3  sonatas  for  piano- 
forte (London)  ;  Loto  musical,  ou  Direc- 
tion facile  pour  apprendre  en  s'amusant  ii 
connaitre  les  diiferents  airs  de  musique 
(The  Hague  and  Amsterdam,  1787).  Co- 
lizzi  arranged  also  several  overtures  for  the 
pianoforte,  among  them  L'amant  statue 
(Paris,  1794).— Fetis  ;  Mendel. 

COLLA,  GIUSEPPE,  born  in  Piacenza, 
about  1780,  died  (?).  He  was  maestro  of 
the  Collegiate  Church  at  Voghera.  He 
composed  much  church  music,  all  of  which 
is  in  MS.  He  is  best  known  by  his  treatise 
on  counterpoint  entitled  :  Saggio  teorico- 
pratico-musicale,  ossia  Metodo  di  contrap- 
punto  (Turin,  1819,  2d  ed.,  jNIilau,  1830). 
— Fetis  ;  Meudel ;  Schilling  ;  Gerber. 

COLLIN,  CHARLES,  born  in  France 
about  1840,  still  living,  1888.  Organist  of 
the  Cathedral  of  Saint-Brieue,  and  author 
of  a  grand  cantata  :  La  Bienvenue,  for  so- 


■MO 


COLLINET 


prano  solo,  orchestra  and  chorus,   written 
for  the   KOuniou   du  Couy:ros   scieutitique 
de  France,  in  1872.     He  is  author  also  of  a 
cantata   composed   for   the   Catholic    Con- 
gress, and  of  another  written  for  the  Con- 
grus  Celtique   International,   with   French 
and  Breton  words.     Published  works  :  Sis 
jours  pour  grand  orgue  ;  L'orgue  a  I'eglise  ; 
Six  Bluettes  for  harmonium  ;  Communion  ; 
Elevation ;   Hymne    a   la   Banniere,  choeur 
a  4  Yoix   d'hommes   avee  solo  ;   Le   chant 
du  franc-tireur,  chceur  avec  solo  ;  Souvenu-s 
du  pensionnat,  col.  de  16  morceaux  a  une, 
deux  et  trois  voix  egales  et  chosur,  avec  ac- 
compagnement  ;  collection  for  divine  ser- 
vice entitled  :  Kautikou  brezonek,  ou  Cau- 
tiques  bretons    et   logendes   pieuses   pour 
orgue-harmonium  (Paris) ;  and  much  other 
church  and  pianoforte  music,  for  which  see 
Fotis.— Fetis,  Supplement,  i.  192. 

COLLINET,  .    There   were   two 


French  flageolet  players  of  this  name,  father 
and   son,    whose  christian   names   are    un- 
known,  both  of  whom  were  distinguished 
members  of  French  orchestras.    The  father, 
who  was  flutist  at  the  Theatre  des  Varietes, 
composed  a  great  deal  of  flageolet  music  : 
Two  concertos  for  flageolet  and  orchestra ; 
Quartet  for  flageolet,  violin,  viola  and  violon- 
cello ;  Deux  livres  de  duos  pour  deux  flageo- 
lets ;    Several  Eecueils   d'airs   varies   pour 
deux  flageolets  ;   Several  Recueils  de  con- 
tredanses  et  valses  pour  flageolet,  violon,  et 
basse,  ou  flageolet  et  piano  (Paris).     The 
son  (born  in  Paris  about  1797)  surpassed  his 
father  in  playing  the  flageolet,  and  was  a 
more  finished  musician.     He  was  a  member 
of  the  Musard  orchestra,  and  a  dealer  in 
music    and    musical    instruments. — Fetis  ; 
Mendel. 

COLMAN  (Coleman),  CHARLES,  born 
about  1600,  died  in  London  in  1664. 
Chamber  musician  to  Charles  I.,  who  taught 
the  viol  lyra-way  after  the  breaking  out  of 
the  civil  war.  In  connection  with  Henry 
Lawes,  Captain  Cooke,  and  George  Hudson, 
he  composed  the  music  for  Sir  AVilliam 
Davenant's  "  First  Day's  Entertainment   at 


Rutland  House  by  Declamations  and  Mu- 
sic," 1657,  intended  as  an  imitation  of  Ital- 
ian opera.     Some  of  his  songs  are  in  "  Se- 
lect Musical  Ayres  and  Dialogues"  (1652, 
1653,    1659) ;    and   instrumental   composi- 
tions in  "Courtly  Masquing  Ayres  "  (1662). 
Edward  Colman,  his  son  (about  1633-69), 
was  a  teacher  of  the  lute  and  viol,  and  a 
composer  of  songs.     He  was  a  gentleman  oi 
the  Chapel  Royal.— Grove  ;  Fetis  ;  Mendel. 
COLOINIBA,  lyrical  drama  in  four   acts, 
text    by  Francis    Hueffer,  music  by  Alex- 
ander Campbell  Mackenzie,  first  represent- 
ed at  Drury  Lane,  London,  April  9,  1883. 
Subject  from  Prosper  Merimee's  novel    of 
the   same  name.     Colomba,  Danish  opera, 
by   Axel    Grandjeau,     Copenhagen,    1882. 
Colomba,  Italian  opera,  music  by  Pradeglia, 
Teatro  del  Verme,  Milan,  May,  1887. 

COLOMBANI  (Columbani),  ORAZIO, 
born  in  Verona,  in  the  16th  century.  He 
was  a  Cordelier  monk,  and  maestro  di  cap- 
pella  to  the  convent  of  S.  Francesco,  Milan. 
There  is  a  Te  Deum  of  his  in  Lindner's 
CoroUarium  cantionum  sacrarum,  and  two 
Magnificats  and  some  madrigals,  in  the 
King  of  Portugal's  library  at  Lisbon.  One 
of  tie  Magnificats  is  for  fourteen  parts. 
Five  of  his  collections  of  Psalms  for  five, 
six  and  nine  voices,  and  two  of  madrigals, 
were  published  in  Italy  (1576-1587).-retis ; 

Mendel. 

COLOMBE,  LA  (The  Dove),  opera-co- 
mique  in  two  acts,  text  by  Jules  Barbier  and 
Michel  Carre,  music  by  Charles  Gounod, 
represented  at  the  Opera  Comique,  Paris, 
June  7,  1866.  Originally  written  for  and 
produced  at  the  Baden-Baden  Theatre,  but 
rearranged  for  Paris.  It  was  given  in  Lon- 
don as  The  Pet  Dove.  The  subject  is  an 
adaptation  of  La  Fontaine's  fable  "  Le 
Faucon,"  with  a  change  in  the  bu'd.  This 
work,  the  first  by  Gounod  played  at  the 
Opera  Comique,  was  well  received.  The 
score  is  published  by  Choudens. 

COLOMBI,  GIUSEPPE,  born  atModena 
in  1635,  died  there  in  September,  1694. 
He  was  maestro  di    cappclla  of  the   ducal 


341 


COLOMBO 


chapel  in  1674,  and  of  the  catliedral  in 
1678.  Works  :  Sinfouie  da  camera,  op.  1 
(Bologna,  1668)  ;  La  lira  armouiea,  op.  2 
(ib.,  1673)  ;  Balletti,  Correuti,  etc.,  op.  3 
(ib.,  1674:)  ;  Souate  a  due  violiui  con  un 
bassetto,  op.  i  (ib.,  1676) ;  Sonate  da  came- 
ra a  tre  stromenti  (ib.,  1689).  In  the  ducal 
library  at  ]Modeua  there  are  twelve  other 
works,  and  four  books  of  sonatas  for  differ- 
ent instruments.— Fetis. 

COLOMBO  (de  Columbis),  GIOVANNI 
FRANCESCO  ANTONIO,  born  in  Ra- 
venna, beginning  of  the  17th  century. 
Cordelier  monk  and  composer  of  church 
music  ;  maestro  di  cappella  and  organist 
of  the  Collegiate  Church  of  Santa  Tecla, 
Eavenua.  Works :  Motetti  (1643)  ;  Missa 
et  psalmi  2  et  3  voeibus  concert.  (1647)  ; 
Completorium,  antiphonae  et  litan.  5  voc. 
(1640)  ;  Syntaxis  harmonica,  2,  3  e  4  voc. 
— Fetis  ;  Mendel. 

COLONNA,  GIOVANNI  AMBEOGIO, 
called  Stampadorino,  lived  in  Milan,  first 
half  of  the  17th  century.  He  published 
two  collections  of  pieces  with  the  following 
titles :  Intavolatui-a  di  liuto  (1616)  ;  In- 
tavolatura  di  chitarra  sjJagnuola  (Milan, 
1627).— Fetis  ;  Mendel. 

COLONNA,  GIOVANNI  PAOLO,  born 
in  Brescia,  or  Bologna,  about  1640,  died  in 
Bologna,  Nov.  28  (Dec.  14)  1695.  Church 
comjjoser,  piii^il  of  Filipuzzi  on  the  organ, 
and  in  composition  of  Carissimi,  Benevoli, 
and  Abbatiui,  in  Rome.  He  was  maestro  di 
cappella  of  S.  Petronio,  Bologna,  and  one 
of  the  first  members  of  the  Accademia  Fil- 
armouica,  of  which  he  was  elected  Principe 
in  1672,  1674,  1685,  and  1691.  Among  his 
works  is  one  opera,  Amilcare,  1693  ;  but 
his  principal  compositions  were  for  the 
church.  His  Psalms,  in  eight  jjarts  (Bolo- 
gna, 1694),  have  been  admired  for  their 
masterly  style.  Among  his  published  works 
are  :  Messe  pieue  a  otto  (1684)  ;  Salmi 
brevi,  lib.  1  and  2  (Bologna,  1681,  1(!86)  ; 
Sacre  lamentazioni,  etc.  (1689)  ;  La  pro- 
fezia  d'  Eliseo  nell'  assedio  di  Samaria, 
oratorio    (Modeua,    1088)  ;   La    caduta    di 


Gerusalemme  sotto  1'  imperio  di  Sedecia, 
ultimo  re  d'  Israele  (Modena,  1688)  ;  Mo- 
tetti sacri,  a  voce  sola  (1691),  etc.  Paolucci 
has  inserted  a  Pange  lingua  in  his  Arte 
pratica  di  coutrappuuto  (i.  199).  In  Breit- 
kopf's  MSS.  (Leipsic)  there  is  a  mass  for 
five  voices,  another  for  three  choirs  and 
orchestra,  and  an  oratorio,  St.  Basilius,  ex- 
ecuted at  Bologna  in  1680.  A  collection  of 
the  known  works  of  this  celebrated  com- 
poser was  made  by  order  of  the  Emperor 
LeoiDold  I.,  and  is  preserved  in  the  Imperial 
Library,  Vienna.  It  contains  forty-four 
numbers,  some  of  which  consist  of  thi'ee 
or  four  Masses,  seven  Magnificats,  four  Lau- 
date,  etc.  A  Magnificat  and  Nunc  dimittis, 
for  two  choirs,  are  printed  in  the  collection 
of  the  Motet  Society,  London.  Four  other 
pieces  are  in  the  Fitzwilliam  Music. — Fetis  ; 
do.,  Supplement,  i.  193  ;  Mendel ;  Riemann ; 
Schilling. 

COLUMBUS,  cantata,  for  solo,  male 
chorus,  and  orchestra,  by  Caspar  Joseph 
Brambach,  first  performed  at  the  Milwaukee 
(Wisconsin)  Silugerfest,  July  23,  1886.  It 
was  awarded  the  prize. 

COLUMBUS,  overture  for  orchestra,  by 
George  Frederick  Bristow,  op.  33,  given  by 
the  Philharmonic  Society,  New  York,  in 
1866-67. 

COLUMBUS,  CHRISTOPHER,  the  dis- 
coverer of  America,  is  the  hero  of  the  fol- 
lowing operas :  H  Colombo,  Italian  ojjera, 
music  by  Vincenzo  Fabrizi,  represented  in 
Rome,  1789  ;  by  Luigi  Ricci,  Parma,  1829  ; 
by  SangiorgioRabiti,  Parma,  1840  ;  by  Giam- 
bini,  Genoa,  1846  (only  a  part  produced) ; 
by  Alessandro  Fava,  Bologna,  1875  (given 
privately).  Christoforo  Colombo,  music  by 
Bottesini,  given  in  Havana,  1847  ;  by  Carlo 
Emanuele  di  Barbieri,  Berlin,  Dec.  26,  1848, 
Hamburg,  1850 ;  by  Vincenzo  Mela,  Ve- 
rona, 1857  ;  by  Donna  Casella,  Nice,  1865 ; 
by  Marcora,  Bahia,  1869  ;  and  by  Pignami 
with  Peneo,  Genoa,  December,  1883.  El 
Colon,  Spanish  opera,  by  Don  Ramon  Car- 
nicer,  Barcelona,  1825,  Madrid,  1831.  Co- 
lombo in  America,  Italian   opera,    text   by 


342 


COLYNS 


Romani,  music  by  MorlaccLi,  given  at 
Genoa,  1828.  Colombo  alia  scoperfca  delle 
Indie,  by  Vincenzo  Fioravanti,  about  1830. 
Columbus,  pantomime,  by  Wenzel  MiiUer, 
Vienna,  1826  ;  overture,  by  Eicbard  Wag- 
ner, Magdeburg,  1835,  Paris,  Feb.  4,  1841 ; 
cantata,  by  Henry  Gadsby,  London,  1881. 
Cristojilie  Colomb,  ode-syniphonie,  by  Ft'li- 
cien  David,  1817. 

COLYNS,  JEAN  BAPTLSTE,  born  in 
Brussels,  Nov.  25,  1831.  Violinist,  studied 
at  the  Conservatoire  of  Brussels  under  Wi'ry  ; 
won  the  2d  prize  in  1849,  and  the  1st  in 
1850.  He  taught  composition,  became  vio- 
lin solo  at  the  popular  concerts  in  Brussels, 
and  was  appointed  professor  at  the  Conser- 
vatoire. He  played  in  Paris,  and  visited 
England,  Holland,  and  Germany.  His  op- 
era. Sir  William,  was  given  at  the  Theatre 
de  la  Monnaie,  Brussels,  in  1877. — Fetis, 
Supplement,  i.  194. 

COMA,  AJSfNIBALE,  lived  in  the  second 
half  of  the  16th  century,  born  at  Carjii, 
duchy  of  Modena,  or  at  Rovigo.  Works  : 
Madrigali  a  cinque  voci  con  un  dialogo  a 
otto  (Venice,  1568) ;  II  primo  libro  de' 
Madrigali  a  quattro  voci  (ib.,  1585) ;  II  se- 
condo  libro  idem  (ib.,  1588).  Two  other 
books  of  madrigals  were  piiblished  later, 
but  Futis  says  thej'  have  no  date. — Fotis. 

COMALA,  cantata,  for  soli,  male  and  fe- 
male choruses,  and  orchestra,  by  Niels  W. 
Gade,  first  performed  at  Leijosic,  iMarch  3, 
1843.  Subject,  the  tragic  story  of  Comala, 
daughter  of  Sarno,  King  of  Innistore,  as 
told  by  Ossian.  Conceiving  a  violent  pas- 
sion for  Fingal,  King  of  Morven,  she  ac- 
companies him  on  his  expedition  against 
Caracul,  King  of  Loehlin.  Placed  on  an 
eminence  where  she  can  overlook  the  battle, 
she  is  overtaken  by  a  fearful  storm,  and, 
thinking  that  the  battle  has  been  lost,  is 
overcome  with  grief  and  dies. — Upton, 
Standard  Cantatas,  144. 

COJIANEDO,  FLAiMINIO,  boin  in  Mil- 
an about  1570,  died  ('?).  Works :  Can- 
zonette  a  3  voci,  lib.  i.  (Venice,  1601) ; 
Canzonette  a  3  voci,  lib.  ii.  (Milan,  1602)  ; 


Madrigali  a  cinque  voci  (Venice,  1615)  ; 
Vesperi  a  quattro  voci  con  partitura  per 
1'  organo  (ib.,  1618).— Fetis ;  Mendel. 

COMBATTIMENTO  D'  APOLLINE 
COL  SERPENTE,  IL  (Apollo's  Contest 
with  Python),  Italian  opera,  text  by  Bardi, 
music  by  Giulio  Caccini,  represented  in 
Florence,  in  Bardi's  house,  in  1590.  This 
work,  which  was  never  given  jniblicly,  be- 
longs to  the  earliest  history  of  the  opera. 

COMBATTIMENTO  DI  TANCREDI  E 
CLORINDA,  IL,  dramatic  interlude,  music 
by  Mouteverde,  given  during  festivities  at 
the  palace  of  Girolamo  Mocenigo,  Venice, 
1624.  He  introduced  in  it,  among  other 
novel  eflfects,  a  tremolo  for  violins,  used  as  at 
the  present  day,  which  so  astonished  the  per- 
formers that  they  at  first  refused  to  play  it. 

COMBATTONS,  CHANTONS.  See  Pos- 
tiUon  de  Lonjumeau. 

COME,  AND  TRIP  IT  AS  YOU  GO,  so- 
prano, or  tenor,  air  and  chorus  in  C  minor, 
in  Handel's  L'  Allegro,  il  Penseroso,  ed  il 
Moderato,  Part  L 

COM'  E  BELLO.     See  Lucrezia  Borgia. 

COME,  BLESSED  CROSS.  See  Komm, 
susses  Kreuz. 

COME,  EVER  SMILING  LIBERTY, 
duet  for  two  sopranos  in  Handel's  Judas 
Maccabteus,  Part  I. 

COM'  E  GENTIL.     See  Don  Pasqmle. 

COiME  PER  ME  SERENO.  See  Son- 
namhula. 

COME  RATHER,  GODDESS  SAGE 
AND  HOLY,  soprano  air  in  D  minor,  in 
Handel's  L'  Allegro,  il  Penseroso,  ed  il  Mo- 
derato, Part  I. 

COME,  THOU  GODDESS,  FAIR  AND 
FREE,  soprano  air  in  B-flat,  in  Handel's 
L'  Allegro,  il  Penseroso,  ed  il  Moderato, 
Part  I. 

COMETTANT,  (,JEAN  PIERRE)  OSCAR, 
born  in  Bordeaux,  April  18,  1819,  still  liv- 
ing, 1888.  Pianist,  pupil  at  the  Conserva- 
toire, Paris,  under  Elwart  and  Carafa  in 
harmony  and  composition,  from  1839  to 
1843.  in  1848  he  won  the  gold  medal 
given    l:y    the    government    for   the    best 


3« 


COME 


national  song  and  chorus  for  the  Choral  So- 
ciety of  France,  for  his  Marche  des  travail- 
leurs.  He  afterwards  gained  a  reputation 
as  musical  ci'itic  and  writer  on  the  Siecle 
and  other  periodicals,  and  is  the  author 
of  several  books.  He  visited  the  United 
States  from  1852  to  1855.  Works :  Heures 
d'harmonie,  for  pianoforte  ;  Religious  com- 
positions for  soj)rano  voice  with  organ  or 
l^iauoforte  ;  O  Salutaris,  Ave  Maria,  Ad  te 
levavi,  Ecce  panis,  Veni  Sancte,  Ave  Maris 
Stella,  etc.  ;  Les  voix  de  Jeanne  d'Arc, 
for  two  choruses,  in  tive  parts  ;  Le  joyeux 
Malbrough,  etc — Fetis  ;  do..  Supplement, 
i.  191: ;  Mendel ;  Rieniann. 

COME  WITH  THE  GIPSY  BRIDE.  See 
Bohemian  Girl. 

COME,  YE  DAUGHTERS,  AYEEP  FOR 
ANGUISH.     See  Kommt,  ihr  Tochter. 

COMFORT  YE  MY  PEOPLE,  accom- 
panied recitative  for  tenor,  ojieuing  Han- 
del's Messiah. 

COMI,  GAUDENZIO,  born  at  Civita 
Vecchia,  in  1749,  (died  ?).  He  went  in 
1781  to  Paris,  where  he  became  musician 
to  the  Prince  de  Gonti.  Published  works  : 
Six  symphonies  a  huit  parties,  op.  1  (Paris, 
1786),  which  obtained  succe.ss,  and  were 
followed  by  six  other  works,  consisting  of 
trios,  symphonies  for  full  orchestra,  and  six 
sonatas  for  two  horns  and  bass. — Fetis  ; 
Mendel. 

COMME  UNE  PALE  FLEUR.  See 
Hamlet. 

COMMER,  FRANZ,  born  at  Cologne, 
Jan.  23,  1813,  died  in  Berlin,  Aug.  17, 
1887.  Church  composer-,  pupil  of  Leibl 
and  Josef  Klein  ;  became  organist  at  the 
Carmelites  and  singer  in  the  cathedral 
in  1828,  and  went  to  Berlin  in  1832,  to 
study  the  organ  under  August  W^ilhelm 
Bach,  and  composition  under  Rungenhagen 
and  A.  B.  Marx.  Soon  after  he  was  com- 
missioned to  arrange  the  library  of  the 
Royal  Institute  for  Church  Music,  and  edited 
several  collections  of  old  compositions.  In 
1844  he  became  royal  Musik-Director,  and 
Regens  chori  of  St.  Hedwig's  church,  and 


founded,  with  Kiister  and  Kullak,  the  Berlin 
Tonkiiustlerverein  ;  in  1845  he  was  made 
member,  and  afterwards  senator,  of  the 
Academy  ;  in  1850  professor  of  singing  at  the 
royal  theatre  vocal  school,  at  the  Friedrich 
Wilhelms-Gymnasium,  and  the  French  Gj'm- 
nasium.  W^orks  :  Der  Zauberring,  oratorio 
for  male  voices,  with  orchestra,  performed 
in  Berlin,  1843,  Strelitz,  1845,  Cologne, 
1850  ;  Der  Kiff  hiiuser,  do.  ;  Five  solemn 
masses  for  4  voices  and  orchestra  ;  Eleven 
masses  for  4  voices  and  organ  ;  Overture, 
entr'actes,  choruses,  and  ballets  to  the 
tragedy  "Clotilde  Montalvi"  ;  Music  to  The 
Frogs  hy  Aristophanes,  and  to  Electra  hy 
Sophocles,  for  male  voices  and  orchestra  ; 
Passion  Cantata  for  male  voices  and  organ  ; 
Twelve  motets  for  4  voices  and  orchestra; 
do.  for  4  voices  and  organ  ;  Te  Deum  ;  Do- 
mine  salvum  fac  ;  Graduale,  offertory,  and 
responses  for  Holy  week  ;  Manj'  pieces  for 
festive  occasions,  for  4  voices  and  orchestra  ; 
Several  collections  of  songs,  and  part-songs, 
psalms,  motets,  and  masses. — Fetis  ;  Men- 
del ;  Riemann  ;  Ledebur,  Tonkiiustler-Lexi- 
kon  Berlins  (Berlin,  18C1). 

COMMIT  THY  WAYS,  OH  PILGRIM. 
See  Befiehl  du  deine  Wege. 

COMODIEN  MUSIK  (Comedy  Music), 
musical  drama,  by  Heinrich  Albert,  rep- 
resented at  the  centenary  of  KOuigsberg 
University,  Aug.  28,  1644.  It  was  after- 
wards repeated  in  the  palace  of  the  Kur- 
fiirst,  but  was  never  published  and  is  now 
lost. 

C0MP{:RE,  LOYSET,  bom  in  Flanders 
about  the  middle  of  the  15th  century,  died 
at  Saint-Queutin,  Aug.  16,  1518.  Famous 
contrapuntist,  probably  a  pupil  of  Okeghem, 
simultaneouslj'  with  Josquin  Despres  and 
Guillaume  Ci-espel.  He  became  a  canon 
and  afterwards  chancellor  of  the  Cathedral 
of  Saint-Quentin.  Only  a  few  of  his  com- 
positions have  been  preserved  in  collections, 
printed  by  Petrucci  in  Venice  (1501-3) 
and  at  Fossombrone  (1519),  and  by  Petreius 
at  Nuremberg  (1541). — Biog.  nat.  de  Bel- 
gique,  iv.  343  ;  Fetis. 


844 


COMPONIMENTO 


C05IP0NIMENT0  SACEO,  oratorio,  l)y  ;  Augustine  Ariie,  played  at  Drury  Lane  The- 


JoLiauu  Erust  Eberliu,  perforiued  with 
great  success  at  Salzburg,  1747. 

COMTE,  ANTOINE  LE,  lived  iu  France 
in  the  latter  half  of  the  17th  century.  He 
was  maitre  de  niusique  at  the  Churches 
of  Sainte-Marie  and  Saint-Martin,  Marie. 
Works  :  Missa  quinque  vocibus  ad  imita- 
tiouem  moduli  :  O  vivum  iueffabilem  (Paris 
lG8.5).-Fotis  ;  Mendel. 

COMTE  CARiUGNOLA,  LE,  opera  in 
two  acts,  text  by  Scribe,  music  by  Ambroise 
Thomas,  represented  at  the  Academic  Koyale 
de  Musique,  Paris,  April  19,  1841.  Scene 
in  Brescia.  Under  the  name  of  the  Mar- 
quis de  Ripada,  the  Comte  Carmagnola 
introduces  himself  into  the  palace  of  the 
governor  to  make  an  attempt  on  his  hon- 
our as  a  husband.  He  succeeds,  and  the 
curtain  falls  on  vice  triumphant.  The  mu- 
sic is  better  than  the  libretto. 

COMTE  D'ALBERT,  LE,  drama  in  two 
acts,  afterwards  iu  one  act,  text  by  Sedaine, 
music  by  Gretry,  represented  at  Fontaine- 
bleau,  Nov.  13,  1786,  and  iu  Paris,  at  the 
Italiens,  Feb.  8,  1787. 

COMTE  OEY,  LE,  opera  in  two  acts, 
text  by  Scribe  and  Delestre-Poirson,  music 
by  Rossini,  first  represented  at  the  Acade- 
mie  Royale  de  Musique,  Paris,  Aug.  20, 
1828.  The  libretto  is  a  rearrangement  of 
a  play  by  the  same  authors  written  for  the 
Vaudeville  Theatre  in  1816,  and  the  music 
was  iu  great  part  composed  for  II  Viaggio  a 
Reims,  an  opera  iu  honour  of  the  corona- 


atre,  London,  1738.  The  jiarts  of  Comus 
and  the  second  Attendant  Spirit  were  sung 
by  John  Beard,  Euphrosyne  by  IMi's.  Clive, 
and  the  lady  and  pastoral  nymph  by  Mrs. 
Arue.  This  work  had  a  great  run  and  fully 
established  Dr.  Arue's  reputation.  It  was 
revived  iu  1738  and  1750,  and  in  1772  with 
alterations  by  Colman. — Hogarth,  ii.  80. 

CONCEiglO  (not  Conceicam),  NUNO 
DA,  born  in  Lisbon,  died  in  Coimbre  in 
1737.  A  Portuguese  monk,  who  became 
mestre  de  capella  in  his  convent  at  Coim- 
bre. His  compositions,  consisting  of  hymns, 
motets,  ijsalms,  etc.,  are  preserved  by  his 
order. — Fetis  ;  Mendel ;  do.,  Ergiinz.,  67. 

CONCEI9AO  (not  Concei<;am),  PEDRO 
DA,  born  in  Lisbon  iu  1691,  died  there, 
Jan.  4,  1712.  Composer  of  vocal  music,  of 
which  Machado  gives  the  following  list : 
Musica  a  4  coros,  for  a  comedy  ;  Loa  com 
musica  a  4  vozes  ;  Vilhancicos  a  3,  4  e  8 
vozes  ;  A  cetera,  e  solfa  de  hum  vilhancico  ; 
In  exitu  Israel  de  Egj'pto  a  4  vozes,  fnnda- 
das  sobre  o  Canto-Chao  do  mesmo  psalmo 
— Fetis  ;  Mendel ;  Bibl.  Lusit.,  iii.,  569. 

CONCERT  DANS  LE  STYLE  ITA- 
LIEN,  a  composition  in  F  major  in  three 
movements  for  clavier  by  Johann  Sebastian 
Bach,  generally  knowu  as  the  Italian  con- 
certo. It  has  long  held  a  prominent  place 
in  the  i-epertory  of  almost  all  great  pian- 
ists. 

CONCERTO  PATHETIQUE,  for  piano- 
forte with  orchestra,  by  Moscheles,  op.  93. 


tion  of  Charles  X.,  produced  at  the  Opera  |  Published  by  Haslinger  (Vienna).  Although 
Italien  in  1825.  Le  comte  Ory  is  one  of  i  less  famous  than  his  concerto  iu  G  minor, 
the  best  of  Rossini's  scores.  It  was  per-  '■  it  deserves  to  be  ranked  among  the  corn- 
formed  in  London  at  the  St.  James's  The-   poser's  best  works. 


atre,  June  20,  1849. 

COMUS,  fairy  masque,  text  by  John  Mil- 
ton, music  by  Henry  Lawes,  jjroduced  at 
Ludlow  Castle,  England,  on  Michaelmas 
night,  1634.  Lawes  himself  performed  the 
part  of  the  Attendant  Spirit.  The  score  is 
preserved  in  the  British  Museum.  Comus, 
English  opera,  same  text,  altered  and  adapt- 


CONCERTSTUCK,  for  four  horns  and 
grand  orchestra,  by  Robert  Schumann,  op. 
86  ;  composed  in  1849,  first  performed  in 
Leipsic,  Feb.  25,  1850.  First  published  by 
Schuberth  &  Co.  (Leipsic,  1851). 

CONCERTSTUCK,  for  pianoforte  and 
orchestra,  in  G  major,  by  Robert  Schumann, 
op.  92  ;  composed  in  1849,  first  performed 


ed  by  Dr.  John  Daltou,  music  by  Thomas  j  by  Clara  Schumann,  Leipsic,  Feb.  14,  1850. 


345 


CONCERTSTUCUv 


First  published  by  Breitkopf  &  Hiirtel 
(Leipsic,  1852). 

CONCERTSTUCK  (Concert  Piece),  in  F 
minor,  for  pianoforte  and  orcbestra,  by 
Weber,  op.  79,  composed  in  BerHn,  1821, 
dedicated  to  tlie  Princess  Maria  Augusta  of 
Saxony,  first  played  by  the  comjioser  at  his 
concert,  Berlin,  June  25,  1821  ;  first  original 
edition,  full  score,  Peters  (Leipsic).  The 
last  and  most  striking  of  Weber's  compo- 
sitions for  the  pianoforte.  He  conceived  the 
idea  as  early  as  1815  while  at  Prague,  but 
did  not  complete  it  until  the  morning  of 
the  first  performance  of  Der  Freischiitz, 
June  18,  1821.  The  exact  idea  of  the  com- 
poser is  expressed  in  his  own  words  in  the 
biography  by  his  son  ;  it  was  to  give  a 
musical  picture  of  a  young  knight's  part- 
ing from  his  betrothed  to  go  to  the  cru- 
sades, his  triumphal  return,  and  joyful 
meeting  with  the  lady.  The  ])iece  has 
long  been  a  favourite  with  almost  all  dis- 
tinguished pianists.  Arranged  for  piano- 
forte alone  by  Hans  von  Biilow. — Benedict, 
65  ;  Jahns,  337  ;  Weber,  ii.  311 ;  Weitz- 
mann,  Gesch.  des  Clavierspiels,  etc.,  123. 

CONCEZZIONE  DELLA  BEATA  VER- 
GINE,  LA  (Conception  of  the  Holy  Virgin), 
oratorio,  by  Alessandro  Scarlatti. 

CONCONE,  GIUSEPPE,  born  in  Turin 
about  1810,  died  there,  June,  1861.  Or- 
ganist ;  resided  in  Paris  from  1832  to  1848, 
when  he  was  appointed  organist  of  the 
Royal  Chapel,  Turin.  His  Lec/ons  de 
Chant  et  Vocalises  is  much  used  by  pro- 
fessors of  singing,  and  has  been  translated 
and  issued  in  many  editions.  Works :  Un 
episodio  di  San  Michele,  opei'a,  Turin, 
1836 ;  Comtesse  et  Bachelette,  duettiuo 
pour  deux  sopranos  et  piano  ;  Judith,  scena 
ed  aria,  mezzo-soprano,  pianoforte ;  Les 
soeurs  de  lait,  duettiuo,  2  sopranos,  piano- 
forte, etc. — Fetis  ;  Mendel. 

CONDELL,  HENRY,  born  in  England 
in  the  latter  part  of  the  18th  century,  died 
in  Loudon,  June,  1824.  Violinist  at  the 
Opera,  and  at  Drury  Lane  and  Covent  Gar- 
den Theatres  in  the  early  part  of  this  cen- 


tury. Works :  The  Enchanted  Island,  ballet, 
1804 ;  Who  Wins  ?  or  the  Widow's  Choice, 
farce,  1808  ;  Transformation,  do.,  1810 ; 
The  Farmer's  Wife,  1814  ;  Glees,  songs,  etc. 

CONFORTI,  GIOVANNI  BATTISTA, 
Italian  composer  of  whom  little  is  known. 
He  was  the  pupil  of  Claudio  Merulo,  and 
published  his  first  work  of  Madrigals  for 
five  voices,  at  Venice,  in  1857. — Fetis ;  Men- 
del. 

CONFORTO,  NICOLd,  Italian  dramatic 
composer,  born  in  the  Kingdom  of  Naples  (?) 
in  the  early  part  of  the  18th  century.  Dra- 
matic composer,  author  of  the  following 
operas :  La  finta  vedova,  Naples,  Teatro 
de'  Fiorentiui,  1746  ;  La  Nitteti,  text  by 
Metastasio,  Madrid,  1756  ;  Antigono,  Lon- 
don, 1757. — Fetis  ;  do..  Supplement,  i.  195; 
Mendel. 

CONINCK,  JACQUES  FELIX  DE,  born 
in  Antwerp,  May  18,  1791,  died  in  Schaer- 
beck-les-Bruxelles,  April  25, 1866.  Pianist, 
pupil  in  Antwerp  of  the  organists  De  Tra- 
zegnies  and  Hoefnagels,  and  at  the  Paris- 
Conservatoire  of  Perne  in  harmony,  in 
which  he  won  the  first  prize  in  1813.  In 
1818  he  returned  to  Antwerp,  and  then 
went  to  America  as  accompanist  to  Mali- 
bran.  On  his  return  to  Antwerp  he  found- 
ed the  Harmonie  Society.  He  published 
in  France  pianoforte  compositions,  concer- 
tos, sonatas,  airs  varies,  etc. — Fetis,  Supple- 
ment, i.  195  ;  Riemann. 

CONINCK,  JOSEPH  BERNARD  DE, 
born  in  Ostend,  Belgium,  March  10,  1827, 
still  living,  1888.  Dramatic  composer,  son 
of  Jacques  Felix  de  Coninck.  His  Essai 
sur  I'histoire  des  arts  et  des  sciences  en 
Belgique,  written  when  he  left  college,  and 
crowned  by  the  Societe  Royale  pour  I'Eu- 
couragement  des  Beaux-Arts,  in  1845,  de- 
cided him  to  give  up  civil  engineering 
for  music,  and  he  studied  the  pianoforte 
and  the  organ,  counterpoint  and  harmony, 
under  a  distinguished  teacher,  De  Leun, 
maitre  de  chapelle  of  St.  Andre.  In  1851  he 
went  to  Paris,  where  Auber  encouraged 
him  by  using  several  choruses  written  by 


346 


CONNAIS-TU 


bim  for  Casimir  Delavigne's  Paria  in  the 
singing  classes  at  the  Conservatoire  con- 
certs, and  put  him  under  the  tuition  of 
Leborne  for  composition  and  fugue.  He 
has  published  many  romances,  melodies, 
and  choruses  without  accompaniment,  has 
brought  out  an  opi'ra-comique,  Maitre  Pa- 
thelin,  text  by  Lajarte,  and  an  operetta, 
Le  rat  de  ville  et  le  rat  des  champs,  both 
performed  at  the  Tivoli  Theatre,  Paris. 
Another,  La  tille  de  Figaro,  was  accepted 
by  the  Athence.  He  has  been  musical 
critic  of  several  prominent  Paris  papers. 
— Fi'tis,  Supplement,  i.  195  ;  Eiemann. 

CONNAIS-TU  LE  PAYS  ?    See  Mignon. 

CONRAD,  JOHANN  CHRISTOPH,  lived 
in  the  18th  century.  Organist  at  Eisfeld, 
in  the  Hildburghausen.  He  published  two 
suites  of  preludes  for  the  organ  (Leipsic, 
1772).— Futis. 

CONEADI,   AUGUST 
June   27,   1821,  died 


there.  May  2G,  1873. 
Dramatic     composer, 
jMipil   of    Eungenha- 
geu  in  harmony  and 
composition;  won 
several  prizes  of  the 
Academy  in  1840-42, 
and  became  organist 
at  the  Church  of  the 
Invaliden  in  1843.  Af- 
ter  a   visit   in   184(5  to  Vienna,  where   he 
brought  out  a  symphony  with  brilliant  suc- 
cess,  he  lived   for  a  time  at  Weimar  inti- 
mate with  Liszt,  was  Kapellmeister  at  the 
theatre  in  Stettin  in  1849-51,  then  at  the 
Konigstiidtisches  Theater  in  Berlin,  at  Diis- 
seldorf,  at  Cologne,  and  since  185G  again  in 
Berlin,  successively  at  KroU's,  at  the  new 
KiJnigstadtisches,  at  Wallner's,  and  Victoria 
Theatres.    Works— Operas :  Eiibezahl,  given 
in  Berlin,  1847  ;  Musa,  der  letzte  Mauren- 
fiirst,  ib.,  1855  ;  Die  Braut  des  Flussgottes  ; 
Die  Sixtinische  Madonna,  ib.,  1864  ;  Knecht 
Euprecht,   ib.,  18G5  ;  So  sind  die  Frauen, 
Im  Weinberge  des  Herrn,  ib.,  1867  ;  Das 
Bchonste  Msidchen   des  Dorfes,    ib.,  1868. 


Many  vaudevilles  and  farces  ;  Five  sympho- 
nies ;  Overtures,  string  quartets;  Church 
music  ;  Dance  music  for  pianoforte  and  or- 
chestra ;  Songs.— Fetis  ;  Mendel. 

CONEADI,  JOHANN  GEORG,  Kapell- 
meister at  Oettingen,  Bavaria,  towards  the 
close  of  the  17th  century.  He  was  one  of 
the  earliest  German  dramatic  composers  ; 
all  his  operas  were  produced  at  the  Ham- 
burg Theatre.  Works  :  Ariadne,  Diogenes, 
and°  Numa    Pompilius,    1691  ;    Jerusalem, 

1692  ;  Carolus  Magnus,  1692  ;   Sigismund, 

1693  ;  Pygmalion,  1693  ;  Gensericus,  1693. 
— Fetis;  Mendel. 

CONRADIN.     See  Konradin. 
CONEAEDY,  JULES,  born  at  Liege,  Bel- 
gium, Jan.  27,  1834,  — 
still  living,  1888.    Or- 
ganist, pupil   of  De- 
cbarneux.       At    the 
age  of  fifteen  he  be- 
came organist  at  the 
Church  of  Ste.  Mar- 
guerite,   then    at   St. 
Servais,   and  later  at 
St.    Antoine,    a   posi- 
tion   he    still    holds. 

In  1853  he  studied  harmony,  counterpoint, 
and  fugue  at  the  Liege  Conservatoire,  under 
Daussoigne-Mehul,   and    in  1857  won    the 
2d  grand  prix  de  Eome,  in  the  grand  con- 
cours  at  Brussels,  for  his  cantata,  Le  meur- 
tre  d'Abel.     On  his  return  to  Liege  from 
Eome  he  began  the  composition  of  both 
church  and   dramatic   music,  and  in  1864 
was  appointed  professor  of  solfege  at  the 
Conservatoire.       Works  —  Operas-comiques 
in  one  act :  Le  pere  Lajoie,  given  at  the 
Theatre   Eoyal,   Liege,   1858;    Annibal    et 
Seipion,  ib.,"l860;  Jeanne  et  Jeannot,  ib., 
1861  ;  Le  roi   de  I'arbalete,  ib.,  1862  ;  Le 
loup-garou    (prize    in    1872    from   Societe 
d'fcnulation),  ib.,  March  26,  1874.     Church 
music  :  Messe  solennelle  with  grand  orches- 
tra ;   2  Te   Deum  ;   Masses  for  three    and 
four  voices  ;  Litanies  ;  Anthems,   etc.     He 
has  published  also  an  album  of  romances, 
and  dance  music  for  pianoforte. 


847 


CON 


CON  KAUCO  MORMOEIO.    See  Rode- 

liiida. 

CONSECRATION  OF  SOUND.  See 
Welhe  der  Tune. 

CONSILIUM,  JACQUES,  French  com- 
poser, early  part  of  the  16tb  century.  His 
name  was  probably  Latinized  by  the  collec- 
tors of  motets,  according  to  a  custom  of 
the  time.  In  Pierre  Attaignant's  collection 
(Paris,  1529-1537)  are  tlie  following  motets 
for  five  voices  by  Consilium,  in  the  seventh, 
eighth,  and  eleventh  books  :  In  ilia  die  ; 
Cum  iudueerent ;  Adjuva  me,  Domiue.  They 
may  also  be  found  in  the  following  collec- 
tions: Psalmorum  selectorum  (Nuremberg, 
1538)  ;  Tertius  liber  cum  quatuor  vocibus 
(Leyden,  1539) ;  Selectissimse  nee  non  fami- 
liarissimje  cantiones,  ultra  cent.,  etc.  (Augs- 
burg, Melehior  Kriessten,  1540)  ;  Can- 
tiones sejjtem,  sex  et  quinque  vocum  (ibid., 
1545)  ;  Livre  de  danceries  ii  six  parties, 
(Attaignant,  Paris,  1543).— Fetis  ;  Mendel. 

CONSTANTIN,  oratorio,  by  George  Vier- 
ling,  first  performed  at  Augsburg,  Bavaria, 
in  1887.  Given  by  tlie  Milwaukee  (Wiscon- 
sin) Musical  Society,  May  1,  1888. 

CONSTANTIN,  TITUS  CHARLES,  born 
in  Marseilles,  Jan.  7,  1835,  still  living,  1888. 
Violinist,  plaj'ed  in  Paris  in  the  orchestras 
of  the  Italiens  and  the  Theatre  Lyrique, 
and  studied  at  the  Conservatoire  under 
Ambroise  Thomas  from  1858.  He  received 
honourable  mention  in  1861,  and  the  second 
prize,  in  18G3,  for  his  cantata,  David  Rizzio, 
set  to  words  by  Chouquet.  He  was  first 
chef  d'orchestre  of  the  Fantaisies  Parisi- 
ennes,  where  he  did  much  to  raise  the  stan- 
dard of  French  opera  by  producing  the 
works  of  the  best  masters,  which  had  given 
])lace  to  the  lighter  operas  then  filling  the 
repertories  of  the  Parisian  theatres.  In 
1871  he  directed  the  concerts  at  the  Casino, 
in  1872  conducted  at  the  Athenee,  and, 
when  that  closed,  at  the  Renaissance  Thea- 
tre, and  in  1875  at  the  Opera  Comique. 
Works :  Bek,  a  ballet  brought  out  at  the 
Grand  Theatre  de  Lyon,  1867  ;  Le  salut, 
cantata,    1867 ;    Dans    la    foret,    opera-co- 


mique,  1872  ;  RoUa,  overture,  1872  ;  Ouver- 
ture  villageoise.  The  last  two  were  played 
at  the  Casino. — Fetis,  Supplement,  i.  197. 

CONSUME  THEM  ALL,  LORD  SAB.\- 
OTH  !     See  Virttlge  sie,  Herr  Zebaoth. 

CONTADINA  ASTUTA,  LA,  Italian  in- 
termezzo, music  by  Pergolesi,  represented 
at  the  Teatro  de'  Fioreutini,  Naj)les,  1734. 
The  intermezzo  was  the  original  form  of  the 
ojaera  buffa. 

CONTE,  ANTONIO  ERNESTO,  born  in 
Salerno,  Italy,  Oct.  23,  1826,  still  living, 
1888.  Pianist,  pujsil  in  harmony  of  his 
father  and  of  Giuseppe  Barberi,  on  the  pi- 
anoforte of  Giuseppe  Litto  and  Fenaroli, 
and  in  composition  of  Carlo  Asseuzio.  He 
is  the  author  of  nearly  one  hundred  pieces 
for  the  pianoforte,  besides  a  great  deal  of 
vocal  music  ;  he  has  also  published  church 
anisic  with  instrumental  accompaniment. 
— Fetis,  Supplement,  i.  198. 

CONTE,  JEAN,  born  in  Toulouse,  May 
12,  1830,  died  in  Paris,  April  1,  1888.  Vio- 
linist, pupil  of  Carafa  at  the  Paris  Conserva- 
toire. He  was  chef  d'orchestre  at  a  small 
theatre  in  1855,  when  he  won  the  grand 
prix  de  Rome  for  his  cantata,  Acis  et  Gala- 
tee,  text  by  Camille  du  Locle.  During  his 
residence  in  Rome,  he  wrote  :  Une  Messe 
solennelle  (1856)  ;  fragments  of  an  opera, 
Isabella  di  Lara  (1857),  and  a  Dies  irse 
(1858).  He  became  professor  of  music  at 
Passy  on  his  return,  and  member  of  the 
orchestras  of  the  Opera  and  Conservatoire. 
Works :  Methode  de  violon  ;  several  books 
of  duos  for  violins  ;  pieces  for  violin  and 
pianoforte  ;  La  charito,  hymne  ;  Oh  done 
vont  les  hirondelles,  reverie  ;  Le  grand 
veneur,  legeude  ;  La  marchande  de  plaisirs, 
chansonettes ;  Music  for  Bejspo,  operette, 
text  by  Camille  du  Locle. — Fetis,  Supple- 
ment, i.  198. 

CONTESA  DE'  NUMI,  LA  (The  Quarrel 
of  the  Gods),  Italian  operetta  in  two  parts, 
text  by  Metastasio,  first  set  to  music  by 
Leonardo  Vinci,  and  represented  in  the 
palace  of  Cardinal  de  Polignac,  Rome,  1729, 
in  honour  of  the  birth  of  the  Dauphin  of 


34S 


CONTES 


France.  Scene  on  lit.  Olj-mpus.  Charac- 
ters represented :  Giove,  Marte,  Apollo, 
Astrea,  La  Pace,  La  Fortuna.  The  libretto 
was  set  to  music  also  bj'  Paisiello,  given 
in  Naples,  1773.  Of  the  same  title  is  an 
Italian  opera,  text  by  Giuseppe  Prescimonio, 
nuisic  bj'  Caldara,  produced  at  Prague,  Oct. 
1,  17-23. 

CONTES  D'HOFFxMANN,  LES  (Hoff- 
mann's Tales),  opera-comique  in  four  acts, 
text  by  Barbier,  music  by  Offenbach,  rep- 
resented at  the  Opera  Comique,  Paris,  Feb. 
10,  1881.  The  libretto  is  founded  on  Hoff- 
mann's storj',  "Der  Sandmann,"  which 
furnished  the  motive  also  for  Delibes's  Cop- 
pelia.  The  orchestration,  left  unfinished  by 
the  composer,  was  completed  by  Ernest 
Guiraud.  This  opera,  Offenbach's  last  and 
best  work,  has  been  almost  entirely  laid  aside 
on  account  of  the  frightful  catastrophe  of 
the  burning  of  the  Ring  Theater,  Vienna, 
Dec.  8,  1881,  during  its  second  representa- 
tion there. 

CONTI,  ANGELO,  liorn  in  Aversa,  near 
Naples,  in  1603,  died  (?).  Works  :  Libre  de' 
niadrigali  a  cinque  voci  (Venice,  1G34)  ;  Tre 
libri  de'  madrigali  a  quattro  voci  (ib., 
1G35-1637)  ;  Libro  de'  motett.i  da  una  sino 
a  dieci  voci  (ib.,  1639).— Fetis  ;  Mendel. 

CONTI,  CARLO,  born  at  Arpino,  near 
Naples,  Oct.  14,  1797,  died  in  Naples,  July 
10,  1868.  Dramatic  composer,  said  to  have 
been  the  best  Italian  contrapuntist  of  his 
time.  He  taught  counterpoint  to  Bellini, 
Lillo,  Audreatini,  Buonamici,  and  others. 
Pupil  at  the  College  of  Music  at  Naples 
from  his  thirteenth  year,  he  studied  first 
under  Tritto  and  for  three  years  had  Ziu- 
garelli  for  his  instructor  in  counterpoint; 
he  afterwards  took  lessons  in  composition 
from  Simon  Mayr  while  he  resided  at  Na- 
ples. He  was  j)rofessor  of  counterpoint 
and  composition  at  the  Conservatorio,  Na- 
ples, in  1846-.58  ;  secretary  for  life  of  the 
Academy,  ib.,  and  corresponding  mem- 
ber of  the  lustitut  de  France.  Works — 
Operas :  Le  triippe  in  Franconia,  opera 
buffa,   given    at  Naples,    Teatro  S.   Sebas- 


tiano,  1825  ;  La  pace  desiderata,  Misau- 
tropia  e  pentimento,  Teatro  Nuovo,  about 
182.5  ;  II  trionfo  della  giustizia,  ib.,  1826  ; 
Gli  Aragouesi  in  Napoli,  ib.,  182^^  ;  L'  in- 
nocenza  in  periglio,  Rome,  Teatro  Valle, 
1827;  Alexi,  Naples,  Teatro  San  Carlo, 
1828  ;  Olimpiade,  ib.,  1829  ;  Giov.anna 
Shore,  La  ■Milan,  Scala,  1830  ;  L'  audacia  for- 
tunata,  ib.,  1831  ;  Cantata  for  the  inaugura- 
tion of  the  bust  of  the  poet  Monti,  Milan, 
Teatro  Filodrammatico,  1829 ;  6  solemn 
masses  ;  2  Requiem  masses ;  2  Credo  ;  Te 
Deum  ;  Magnificat ;  several  Dixit ;  Canzone, 
with  pianoforte. — Fetis  ;  do..  Supplement, 
i.  199. 

CONTI,  CLAUDIO,  born  at  Capracotta, 
Kingdom  of  Najjles,  in  1836,  still  living, 
1888.  Dramatic  composer,  pupil  at  the 
Naples  Conservatorio  under  Parisi  and 
Mercadante.  His  first  efforts  were  in 
church  composition,  but  his  first  success 
was  an  opera  entitled  La  figlia  del  Marinajo, 
given  at  the  Teatro  Bellini,  Najjles,  iii  18G-4. 
He  devoted  himself  to  teaching,  and  in 
1872  became  director  of  the  Albergo  de' 
Poveri  musical  institute.  Works  :  2  Hymns, 
sung  at  the  San  Carlo  in  1859  and  1869  ; 
4  Albums  of  songs  ;  Collection  of  piano- 
forte pieces  ;  3  melodies  for  violoncello 
and  pianoforte  ;  Eloge  funebre ;  March 
for  full  orchestra,  written  on  the  death 
of  Meyerbeer,  etc. — Fetis,  Supplement,  i. 
200. 

CONTI,  FRANCESCO  BARTOLOMEO, 
born  in  Florence,  Jan.  20.  1681,  died  in 
Vienna,  July  20,  1732.  Dramatic  com- 
poser ;  court  theorbist  at  Vienna  in  1701, 
and  court  composer  from  1713.  His  first 
opera,  Clotilde,  Vienna,  1706,  was  also 
given  in  London,  1709,  and  the  songs  in 
it  were  published  separately  by  Walsh ; 
but  his  best  work  was  the  tragi-comic  op- 
era, Don  Chisciotto  in  Sierra  Morena,  per- 
formed at  the  Carnival  in  Vienna  in  1719, 
and  afterwards  in  German  at  Hamburg,  in 
1722.  KiJchel  gives  a  list  of  his  works  per- 
formed in  Vienna  between  1706  and  1732. 
They  number  sixteen   grand  operas,   thir- 


34? 


CONTI 


teen  serenades  or  festi  teatrali,  and  nine 
oratorios,  the  scores  of  which,  ahuost  en- 
tire, are  in  the  Imperial  Library  and  in 
the  archives  of  the  Gesellschaft  der  Musik- 
freiinde,  Vienna.  Works — Operas  :  Clo- 
tilde,  London,  1709  ;  Alba  Cornelia,  I  Satiri 
in  Arcadia,  Vienna,  171  J:  ;  Teseo  in  Greta, 
ib.,  1715  ;  II  Fiuto  Policare,  Giro,  ib.,  1716  ; 
Don  Chisciotto  in  Sierra  Morena,  ib.,  1719, 
and  Hamburg,  172'2  ;  Alessandro  in  Sidone, 
Vienna,  1721  ;  Archelao,  re  di  Cappadocia, 
Mosfe  preservato,  ib,  1722 ;  Penelope,  ib., 
1724 ;  Griselda,  ib.,  1725  ;  Issipile,  ib., 
1726 ;  Galatea  vendicata,  ib.,  1727  ;  II  tri- 
onfo  deir  amor  e  dell'  amicizia,  ib.,  1728  ; 
n  martirio  di  San  Lorenzo,  oratorio,  Vi- 
enna, 1710  ;  Cantatas,  motets. — Futis;  Men- 
del ;  Schilling. 

CONTI,  GIACOMO,  born  in  the  18th 
century,  died  in  Vienna  in  1804.  Italian 
violinist  ;  first  violin  in  1790  in  the  chapel 
of  the  Empress  Catherine  of  Russia,  and  of 
Prince  Potemkin.  In  1793  he  went  to  Vi- 
enna and  became  conductor  at  the  Italian 
opera.  His  works  consist  of  five  concertos 
for  violin  ;  two  sets  of  sonatas  for  violin  ; 
three  sets  of  duos  for  the  same,  op.  6,  9, 
and  10 ;  and  a  set  of  solos  for  violin,  op.  8. 
— Futis. 

CONTI,  IGNAZIO,  born  in  Florence  in 
1699,  died  in  Vienna,  March  28,  1759. 
Church  composer,  son  of  Francesco  Conti, 
whom  he  succeeded  in  the  service  of  the 
court  of  Vienna.  "Woi'ks  :  La  distruzione 
di  Hai  (1728)  ;  II  giusto  afflitto  nella  per- 
sona di  Giobbe  (Vienna,  1736)  ;  and  the 
following  in  MS.  in  the  Royal  Libi-ary  at 
Berlin  :  Offertory,  Meditabar,  for  five  voices 
and  organ,  in  score  ;  Cantata  in  C  minor, 
for  sojirano  and  continue,  Dojjo  tante  e 
tante  pane ;  Missa  prima,  Sperabo  in  te,  4 
voci  a  cappella  ;  Missa  secunda,  Adjuva  me, 
4  e  5  voci  a  cappella  ;  Missa  terza,  Exaudi 
me,  4  e  5  voci  a  capella ;  Missa  quarta, 
Judica  me,  6  voci  a  cappella. — Fotis  ;  Men- 
del; do.,  Ergilnz.,  67. 

CONTI,  NICOLO,  born  in  the  Kingdom 
of  Naples,  lived  in  the  18th  century.     Dra- 


matic composer,  author  of  the  following 
works  given  at  the  Teatro  de'  Fiorentini, 
Naples:  L'Ippolita,  1733;  L' Orlindo  (with 
Matteo  Capranica),  1753. — Fetis,  Sujiple- 
ment,  i.  198. 

CONTINI,  GIOVANNI,  flourished  in 
Brescia,  middle  of  the  16th  century.  He 
was  maestro  di  cappella  of  the  Cathedral  of 
Brescia  in  1550.  Published  works  :  Madri- 
gali  a  cinque  voci,  lib.  i.;  Modulationum 
quinque  voc.  liber  primus  ;  Modulationum 
sex  vocum  liber  primus ;  Introitus  et  alle- 
luja  quinque  vocum  ;  Hymnos  quatuor  vo- 
cum ;  Threnos  Hieremife  quatuor  vocum  ; 
Missae  4  vocibus  concert.  (1560);  Cantiones 
sex  vocum  (Venice,  1565).  He  must  not 
be  confounded  with  Giovanni  Contini,  com- 
poser of  the  Roman  school,  who  lived  in  the 
beginning  of  the  18th  century,  and  pro- 
duced the  oratorio,  II  pescatore  castigato 
(Prague,  1735).— Fetis  ;  Mendel. 

CONTIUS, ,  born  at  Rossla,  in  Thu- 

ringia,  about  1714,  died  in  Quedlinburg  in 
1770.  Harpist  and  harpsichordist  in  the 
service  of  the  Count  von  Brdhl,  Dresden,  he 
retired  in  1759  to  Sondershauseu,  where  he 
wrote  several  church  pieces  for  that  noble- 
man's chapel.  In  1762  he  entered  the  ser- 
vice of  the  Prince  of  Berneburg,  but  left  it 
in  1770,  and  went  to  Quedlinburg,  where  he 
had  a  government  ajspointmeut.  He  wrote 
several  sj'mphouies  and  some  concertos  for 
the  harpsichord  and  the  harp  which  have 
never  been  published. — Fetis;  Mendel; 
Schilling. 

CONTRASTES,  LES,  grand  duo  for  two 
pianofortes,  for  eight  hands,  by  Moscheles, 
op.  115.  In  this  composition  the  musical 
styles  of  diiterent  countries  and  times  are 
cleverly  imitated.  It  has  been  arranged  for 
a  single  pianoforte  for  four  hands.  Pub- 
lished by  Kistner  (Leii^sic). 

CONVERSE,  CHARLES  CROZAT,  born, 
of  American  parentage,  in  Warren,  Massa- 
chusetts, Oct.  7,  1832,  still  Hving,  1888. 
About  1855  he  went  to  Europe  and  stud- 
ied at  the  Leipsic  Couservatorium  orches- 
tration under  Richter,  and  the  pianoforte 


S60 


CON  VE  RSI 


under  Plaidy.     In  1857  he  returned,  and 
finally  settled  in  Erie,  Penii.,  where  he  now 
resides.     Mr.  Converse 
is  a  member  of  the  Erie 
bar,  and  has  an  intei-- 
est  in  the  Burdett  Or- 
gan Company  ;  he  has 
published  a  number  of 
pieces  under  the  pseu- 
donym of  Karl  Kedan. 
Works :  National  Over- 
ture ;    Fest-Ouverture, 
performed    by    the 
Brooklyn   Philharmonic   Society,    1870 ;    6 
German  Songs,  Aufmunterung  zur  Freude, 
Wehnuith,   Tiiuschung,    Iluhe   in    der   Ge- 
liebteu,   Die   Nachtigalleu,   Der  gefaugene 
Sanger   (Leipsic,   1856)  ;  After,   and   other 
vocal  quartets  ;  What  a  friend  we  have  in 
Jesus,    hymn,    translated    into    many    lan- 
guages and  set  to  the  same  tune  ;  God  for 
Us,  American  national  hymn,  1887.     He  has 
in  MS.  2  symphonies,  2  oratorios,  several 
overtures,  string  quartets  and  quintets,  and 
many  chorals. 

CONVERSI,  GIEOLAMO,  born  at  Cor- 
reggio  about  1550,  died  (?).  His  pretty 
madrigal.  When  all  alone  my  pretty  love 
was  playing,  is  well  known.  He  was  the 
author  of  the  following  works  :  Canzone  a 
5  voei  (Venice,  1575,  reprinted  in  1580) ; 
Madrigali  a  6  voci  (Venice,  1584).— Fctis  ; 
Mendel. 

CONVITATO  DI  PIETRA,  IL.  See  Don 
Giovanni. 

CON  VETO,  IL  (The  Banquet),  Italian 
opera,  music  by  Cimarosa,  represented  in 
Venice,  1782. 

CONZERT  IN  UNGARISCHERWEISE, 
Hungarian  concerto  for  violin  and  orches- 
tra, by  Joseph  Joachim,  op.  11.  The  com- 
poser's most  important  and  most  successful 
work,  a  masterpiece  among  violin  concertos. 
CONZERTSTUCK.  See  ConcertdiicL 
COOKE,  BENJAINIIN,  born  in  London 
in  1734,  died  there,  Sept.  14, 1793.  Church 
composer,  pupil  of  Pepusch,  whom  he  suc- 
ceeded as  conductor  of  the  Academy  of  An- 


cient Music  in  1752,  holding  this  position 
until  1789  ;  became  organist  at  Westminster 
Abbey  in  1742,  choirmaster  in  1757,  and  lay 
vicar  "in  1758  ;  organist  of  St.  Martin's-in- 
the-Field,  1782.  Doctor  of  Music,  Cam- 
bridge, 1775,  Oxford,  1782.  He  is  especially 
esteemed  in  England  as  a  composer  of  glees, 
canons,  and  catches,  for  which  he  repeatedly 
won  prizes  from  the  Catch  Club. — Grove. 

COOKE,  HENRY,  born  about  IGIO,  died 
in  London,  July  13,  1672.  He  was  edu- 
cated in  the  Chapel  Royal  of  Charles  I.  In 
1642  he  obtained  a  captain's  commission 
in  the  royal  army,  from  which  he  is  gener- 
ally called  Captain  Cooke.  He  taught  mu- 
sic under  the  Commonwealth,  and  on  the 
re-establishment  of  the  Chapel  Royal,  in 
1660,  was  made  master  of  the  children, 
and  in  1664  was  appointed  composer  of  the 
king's  private  music  for  voices.  He  is  the 
author  of  several  anthems,  the  words  of 
which  are  in  Clifford's  collection,  and  a 
processional  hymn  for  the  festival  of  the 
Knights  of  the  Garter,  Windsor,  1661.  He 
also  contributed  some  of  the  music  to 
Daveuant's  Siege  of  Rhodes,  1657. — Grove  ; 
Mendel;  Barrett,  English  Church  Com- 
posers, 82. 

COOKE,  ROBERT,  born  in  1768,  died 
in  London,  Aug.  13,  1814.  Organist,  son 
and  pupil  of  Dr.  Benjamin  Cooke.  He 
succeeded  his  father  as  organist  of  St.  Mar- 
tin's-in-the-Fields,  in  1793,  and  at  the  death 
of  Dr.  Arnold,  1802,  he  was  appointed  or- 
ganist and  master  of  the  choristers  of  West- 
minster Abbey.  He  became  deranged  and 
drowned  himself  in  the  Thames.  He  is  the 
author  of  about  thirty  glees,  three  of  which 
took  prizes  at  the  Catch  Club.  A  collection 
of  eight  of  them  was  published  by  him  in 
1805.  He  composed  also  an  Evening  Ser- 
vice, an  anthem,  and  an  Ode  to  Friendship. 
—Grove  ;  :Mendel. 

COOKE,  THOMAS  SIIMPSON,  born  in 
Dublin,  Ireland,  in  1782,  died  in  London, 
Feb.  26,  1848.  Dramatic  composer,  pupil 
of  his  father  and  of  Giordani ;  a  proficient 
on    several    instruments,    he    was    at    first 


COOMBS 


conductor  at  the  theatre  iu  Dublin,  then 
opera-singer  iu  Loudon,  where  he  con- 
ducted the  orchestras  at  Driuy  Lane,  Cov- 
ent  Garden,  and  in  1846—48  the  concerts 
of  ancient  music.  Professor  at  the  Koyal 
Academy  of  Music  ;  member  of  the  Phil- 
liarmonic  Society.  He  had  a  deserved  re})- 
utation  as  a  singing  master,  and  wrote 
a  treatise  on  singing,  which  was  much 
esteemed.  Works — Operas  :  Frederick  the 
Great,  1814  ;  The  King's  Proxy,  181.5  ;  The 
Count  of  Anjou,  1816  ;  A  Tale  of  other 
Times  (with  Bochsa),  1822  ;  The  Wager,  or 
The  Midnight  Hour,  1825  ;  Oberon,  or  the 
Charmed  Horn,  Malvina,  1826  ;  The  Boy 
of  Santillane,  1827  ;  The  Brigand,  Peter 
the  Great,  1829  ;  The  Dragon's  Gift,  1830  ; 
The  Ice  Witch,  Hyder  Ali,  1831  ;  St. 
Patrick's  Eve,  1832  ;  King  Aiihur,  and  the 
Knights  of  the  Bound  Table,  1835  ;  The 
five  Lovers  ;  Numerous  farces  ;  glees  and 
duets. — Fotis  ;  Grove  ;  Mendel. 

COOMBS,  JABIES  MORRIS,  born  iu 
Salisbury,  Eugland,  iu  1769,  died  in 
Chippenham  in  1820.  He  was  a  chorister 
of  Salisbury  Cathedral  under  Ste2:>heus 
and  Parry,  and  organist  at  Cliippeuhani 
from  1789  until  his  death.  Published 
works :  Jubilate,  songs,  glees,  a  set  of 
canzonets,  and  a  selection  of  psalm  tunes. 
A  Te  Deum,  composed  by  him  when  very 
young,  is  still  in  use. — Grove  ;  Meudel. 

COOP,  ERNESTO  ANTONIO  LUIGI, 
born  in  Messina,  June  1,  1812,  died  in 
Naples,  November,  1879.  Pianist,  jiupil  of 
a  tenor  named  Lucchini,  and  of  Mario  Aspa 
and  Mazza.  He  became  in  1836  professor 
at  the  Naples  Conservatorio.  He  pub- 
lished more  tlian  one  hundred  compositions 
for  the  pianoforte. — Fetis,  Supjjk'ment,  i. 
200. 

COPERARIO,  JOHN,  flourished  at  be- 
ginning of  the  17th  century.  He  was  an 
Englishman  named  Cooper,  who  Italianized 
his  name  during  a  sojourn  in  Italy  ;  per- 
former on  the  viol  da  gamba  and  the  lute. 
He  was  musical  instructor  to  the  children 
of  James  I.,  and  comjjosed,  in  conjunction 


with  Lanicre,  songs  for  the  court  masque 
written  by  Di\  Campion  on  the  marriage, 
iu  1614,  of  the  Earl  of  Somerset.  His  mu- 
sic to  the  Masque  of  the  Inner  Temple  aud 
Graye's  lun,  was  given  at  Whitehall,  Feb. 
20,  1612.  He  composed  a  set  of  Fancies 
for  the  organ  for  Charles  I.,  the  manuscript 
of  which  is  still  extant,  and  contributed  two 
vocal  pieces  to  the  '•  Teares  or  Lamentacions 
of  a  Sorrowfull  Soule,"  published  in  1614  bj' 
Sir  William  Leighton.  He  was  the  master 
of  Henry  and  William  Lawes. — Grove  ;  Men- 
del. 

COPPELIA,  ou  La  fiUe  aux  yeux  d'email, 
ballet  in  three  acts,  text  by  Charles  Nuitter 
aud  A.  Saint-Leon,  music  by  Leo  Delibes, 
first  represented  in  Paris,  1870.  The  plot 
is  founded  on  E.  T.  A.  Hoffmann's  storj', 
"Der  Sandmaun,"  the  motive  of  which 
also  served  Adolphe  Adam  in  his  "  Poupee 
de  Nuremberg  (1852),"  and  Offenbach  in  his 
"Coutes  d'Hoffmann  (1881)."  The  story 
is  funny  aud  the  music  bright  and  spark- 
ling. It  was  given  at  the  Metropolitan  Op- 
era House,  New  York,  March  11,  1887. 

COPPINUS  (Coppino),  AQUILINUS, 
born  in  Milan,  about  1565,  died  after  1621. 
Educated  at  the  college  of  S.  Simone,  he 
devoted  many  years  to  the  study  of  music, 
and  published  a  collection  of  motets,  ar- 
ranged from  madrigals  by  well-known  au- 
thors, with  this  title  :  Partita  della  musica 
tolta  de'  madrigali  di  Claudio  Monteverde, 
e  d'  altri  autori,  fatta  sjiirituale  da  Aquilino 
Cojjpino  (Milan,  1607). — Frtis. 

COPPOLA,  GIUSEPPE,  born  in  Naples, 
about  the  middle  of  the  18th  century-.  Au- 
thor of  an  oratorio,  L'  apparizione  di  S. 
Michele  Arcangelo  sul  monte  Gargano 
(1788) ;  and  a  cantata,  Gli  amauti  pastori, 
with  orchestral  accompaniment. — Fetis  ; 
Meudel. 

COPPOLA,  PIER  ANTONIO,  born  at 
Castrogiovanni,  Sicily,  Dec.  11,  1793,  died 
at  Catania.  Nov.  14,  1877.  Dramatic  com- 
poser, pupil  of  liis  father  and  at  the  Royal 
College  of  Music,  Naples,  but  formed  him- 
self chiefly  by  studying  the  scores  of  the 


!&i 


CORA 


great  masters.  Gifted,  but  hampered  by 
the  fact  that  Rossini  was  his  contemporary, 
his  efforts  for  the  stage,  begun  in  1816,  met 
with  varying  success  until  1835,  when  his 
Nina  pazza  made  its  way  into  all  the  prom- 
inent opera-houses  of  Europe,  and  even 
to  Mexico.  About  1839  he  became  mestre 
de  eapella  of  the  royal  opera  in  Lisbon, 
whither  he  returned  in  18(J0,  having  tempo- 
rarily spent  a  few  years  in  Italy  to  bring 
out  "new  operas.  ^Yorlis— Operas :  II  figlio 
bandito,  given  at  Naples,  Teatro  del  Fondo, 
181G ;  Achille  in  Sciro,  ib.,  about  1825  ; 
Artallo  di  Alagona,  ib.,  about  1830;  La 
festa  delle  rose,  Milan,  Genoa,  Florence, 
about  1831 ;  Nina,  o  la  pazza  per  amore, 
Rome,  1835  ;  Enrichetta  di  Baieufeld, 
Vienna,  183G  ;  Gli  lUiuesi,  Turin,  1837  ;  La 
bella  Celeste  degli  Spadari,  Milan,  1838  ; 
Giovanna  I.,  regiua  di  Napoh,  Lisbon,  1811  ; 
Inez  de  Castro,  ib.,  1842  ;  II  folletto,  Rome, 
1843  ;  Fiugal,  Palermo,  1844  ;  L'  orfana 
gnelfa,  ib.,  1845  ;  II  goudoliere  di  Venezia, 
Florence,  about  1850  ;  II  postiglione  di 
Lonjumeau,  etc.  ;  Masses,  litanies,  and 
other  church  music— Fctis  ;  Mendel ;  Rie- 
mann. 

CORA  (Alonzo  et  Cora),  opera  in  four 
acts,  text  by  Valadier,  music  by  Mchul, 
represented  at  the  Opi'ra,  Paris,  Feb.  15, 
1701.  Subject  from  Marmontel's  "  Incas," 
a  romance  of  Peru,  in  which  Cora  is  the 
priestess  of  the  Sun.  A  Swedish  opera  of 
the  same  title,  three  acts,  text  by  Adlerbeth, 
music  by  Naumann,  was  produced  at  the 
opening  of  the  new  theatre,  Stockholm, 
Sept.  30,  1782.  Cora,  ou  La  prctresse  du 
soleil,  music  by  Cambini,  given  at  the  The- 
atre de  Beaujolais,  1787.  Cora,  opera  in 
three  acts,  music  by  Heini  Berton,  produced 
at  the  Academic  Royale  de  :Musique,  Paris, 
July,  1789,  but  the  representation  was 
stopped  by  the  revolutionary  troubles. 
Cora  und  Alonzo,  music  by  Lasser,  Munich, 
about  1795.  Alonzo  und  Cora,  ballet,  music 
by  Weigh  Vienna,  about  1795 ;  music  by 
Wenzel  Miiller,  Vienna,  1795.  Alfonso  e 
Cora,  music  by  Simon  Mayr,  Venice,  1803. 


CORBELLINI,  BERNARDINO,  bom  in 
Dubino,  in  the  Valtellina,  in  1748,  died  in 
Naples  in  1797.  Dramatic  composer,  pupil 
at  the  Conservatorio  della  Pieta,  Naples, 
under  Sala.  He  wrote  several  opere  buffc, 
among  which  are  :  Astuzie  per  astuzie,  and 
II  marito  imbrogliato.  He  composed  also 
some  canzoui  set  to  poems  by  Metastasio. 
— Fetis  ;  Mendel. 

CORBER,  GEORG,  German  musician, 
lived  about  the  close  of  the  16th  century. 
He  seems  to  have  been  a  schoolmaster  at 
Nuremberg.  Published  works :  Tyrocinium 
(1589) ;  Disticha  moralia  ad  2  voces  ;  Sacno 
cautiones,  4  voc,  fugis  concinnatse  (Nurem- 
berg).—Fetis  ;  Mendel. 

CORBESIER,  ANTONIO,  born  in  Naples, 
first  half  of  the  18th  century.  Works- 
Operas  :  II  mercante  innamorato,  inven- 
zione  per  musiea,  Teatro  de'  Fiorentini, 
1750,  and  II  finto  innamorato,  1751. — Fetis, 
Supplement,  i.  201. 

CORBETT,  SAMUEL,  born  at  Welling- 
ton, Shropshire,  England,  Jan.  29,  1852, 
still  living,  1888.  Organist,  pupil  of  Mac- 
fan-en  and  James  Coward.  Works :  Beth- 
lehem, cantata  ;  Sonata  for  pianoforte  ;  Mag- 
nificat, and  Nunc  dimittis  ;  Anthems,  songs, 
and  part-songs. 

CORBETT,  WILLIAM,  born  in  England 
in  1669  (?),  died  in  1748.  Violinist,  first 
heard  of  as  a  member  of  Queen  Anne's 
band  and  leader  of  the  band  at  the  Opera 
House,  London,  in  1705.  In  1711  he  went 
to  Italy  and  resided  many  years  in  Rome, 
making  visits  to  the  principal  towns  of 
Italy,  amassing  rare  music  and  a  valuable 
collection  of  violins.  He  returned  to  Eng- 
land in  1740.  By  his  will  he  bequeathed 
his  collection  to  Gresham  College,  but  there 
being  no  room  for  them  they  were  dis- 
persed. Works:  Music  to  Henry  IV., 
1700  ;  do.  to  As  you  find  it,  1703  ;  do.  to 
Love  Betrayed,  or  The  Agreeable  Dis- 
appointment, 1703  ;  Sonata  for  two  violins 
and  bass,  1705  ;  do.  for  two  flutes  and  bass, 
170G  ;  do.,  1707  ;  Six  sonatas  for  two  oboes 
or  trumpets,  two  vioUus,  and  bass  ;  Twelve 


353 


CORDANS 


concertos  for  various  instruineuts ;  Con- 
certos or  Universal  Bizzarries,  composed  on 
all  the  new  Gustos  during  many  years  resi- 
dence iu  Italj',  op.  5  (London,  1741).  The 
last,  which  consists  of  thirty-five  concertos 
in  seven  parts,  professes  to  exhibit  the  dif- 
ferent styles  of  various  countries. — Petis  ; 
Grove  ;  Mendel ;  Iliemaun. 

CORDANS,  B.\ETOLOMEO,  born  in 
Venice  in  1700,  died  in  Udine,  May  14, 
1757.  A  Franciscan  monk,  he  obtained  a 
dispensation  from  the  Po^se  absolving  him 
from  his  strict  vows,  and  became  in  1735 
maestro  of  the  Cathedral  of  Udine,  in 
Friuli.  Before  entering  wpon  these  duties 
he  had  written  the  following  operas,  which 
were  performed  at  Venice  :  La  generosita 
di  Tiberio    (conjointly   with  Santo  Lapis), 

1729  ;  Silvia,  words  by  the  Count  Enrico 
Bissaro,    played    at  the    Teatro    S.    Mose, 

1730  ;  La  Komilda,  words  by  Carlo  Paga- 
nicessa,  played  at  the  same  theatre,  ib., 
1731.  He  had  written  also  the  music  of 
the  oratorio  Sau  liomualdo,  to  the  words  of 
the  Abbate  D.  Romano  Marrighi,  of  Imola, 
which  was  sung  in  1727  by  a  choir  of  the 
monks  in  the  convent  of  S.  Michele  di 
Murano.  Cordans  was  a  man  of  ungovern- 
able temper  and  eccentric  habits.  He 
quarrelled  with  the  canons  of  his  order, 
and  at  his  death  bequeathed  much  of  his 
MS.  music  to  a  goldsmith,  with  orders  to 
burn  it.  Only  three  volumes,  containing 
twelve  masses  for  three  voices,  were  saved. 
In  the  archives  of  the  cathedral  of  Udine 
is  a  collection  of  sixty  masses  which  had 
passed  out  of  his  possession  before  his 
death  ;  these  are  mostly  concerted  pieces 
with  instrumental  accompaniment,  and 
some  are  for  double  chorus.  There  are 
also  more  than  a  hundred  psalms,  besides 
motets,  etc.,  in  this  collection.  In  Com- 
mer's  Musica  Sacra  are  five  masses  and  five 
motets  for  three  voices,  by  Cordans. — Fi'tis  ; 
Mendel. 

CORDELET,  CLAUDE,  born  in  Dijon, 
date  unknown,  died  iu  Paris,  Oct.  19,  17C0. 
He  was  maitre  de  musique  at  the  Church  of 


Saint-Germain  I'Auxerrois,  Paris,  and  wrote 
motets  which  were  sung  at  the  Concerts 
Spirituels.  Fctis,  who  gives  a  list  of  his 
works,  says  he  had  very  little  talent,  and 
that  his  church  works  were  severely  criti- 
cised.— Fotis. 

CORDELLA,  GERONIMO,  born  in  the 
kingdom  of  Naples,  and  lived  in  the  18th 
century.  He  was  organist,  in  1783,  to  the 
Arch-Confraternity  of  Sant'  Anna  di  Pa- 
lazzo. His  opera,  Faustina,  was  given  at 
the  Teatro  de'  Fiorentini,  Naples,  in  1747. 
— Fetis,  Supplement,  i.  201. 

CORDELLA,  GIACOMO,  born  in  Naples, 
July  25,  178G,  died  there,  Aug.  8,  1846. 
Dramatic  composer  ;  sou  of  Gerouimo  Cor- 
delia and  pupil  of  Fenaroli  and  Paisiello. 
He  wrote  his  first  cantata.  La  vittoria  dell' 
Area  contro  Gerico,  at  the  age  of  nineteen. 
He  became  professor  of  solfeggio  at  tlie 
Naples  Conservatorio,  and  maestro  di  cap- 
pella  of  several  of  the  convents  of  that  city, 
and  was  for  many  years  director  of  music 
at  the  Teatro  Sau  Carlo.  His  first  dra- 
matic attempt  was  made  in  the  Carnival  of 
1805,  iu  a  farce  entitled  II  ciarlatauo,  which 
had  great  success  in  Venice,  Milan,  Turin, 
and  Padua.  Works — Ojaeras  :  L'  isola  in- 
cantata,  given  at  Naples,  Teatro  Sau  Carlo, 
1807 ;  Annibale  in  Capua,  ib.,  1808  ;  Una 
follia,  opera  buffa,  ib.,  Teatro  de'  Fioren- 
tini, 1809  ;  L'  avaro,  do.,  ib.,  1810  ;  I  due 
furbi,  Teatro  Nuovo,  1811;  L'  azzardo  for- 
tunato,  ib.,  1812 ;  II  contracambio,  Rome, 
Teatro  Valle,  1813  ;  U  marito  disperato, 
Naples,  Teatro  del  Fondo,  1814;  Matilde 
di  Lanchefort,  ib.,  1815  ;  Lo  scaltro  millan- 
tatore,  ib.,  Teatro  Nuovo,  1820  ;  Lo  sposo 
di  provincia,  Rome,  Teatro  Argentina,  1821 ; 
I  finti  Savojardi  (a  revision  of  II  ciarla- 
tauo), Venice,  Teatro  San  Moso,  1822  ;  II 
Castello  degli  Invalidi,  Najsles,  Teatro  del 
Fondo,  1823 ;  II  frenetico  per  amore,  ib., 
Teatro  Nuovo,  1824  ;  Alcibiade,  Venice,  Te- 
atro Fenice,  1825  ;  Gli  avventurieri,  Milan, 
Teatro  della  Canobbiana,  1825  ;  La  bella 
prigioniera,  Naples,  182G.  He  left  in  MS. 
much  church  music,  consisting  of  masses. 


354 


CORDEll 


Dixit,  sacred  cantatas,  etc.  Two  cantatas, 
Maufredi,  and  Partenope,  were  given  at  the 
gala  fote  at  La  Scala  in  18-11. — Fetis  ;  do., 
Supplement,  i.  201 ;  Mendel. 

CORDEK,  FREDERICK,  born  in 
London,  Jan.  2G,  1852,  still  living,  1888. 
Dramatic  composer,  pupil  of  the  Roj-al 
Academy  of  Music,  where  he  gained  the 
Mendelssolm  scholarship  in  1875,  and  at 
Cologne  of  Ferdinand  Hiller.  He  retui'ned 
to  England  iu  1879,  and  was  appointed 
conductor  of  the  orchestra  at  the  Brighton 
Aquarium  iu  1880.  He  has  translated, 
together  with  his  brother  Henry,  the  tests 
of  Wagner's  later  music-dramas  into  Eng- 
lish. Works  :  Morte  d'Arthur,  opera,  o\x  3 
(1877-79);  Philomel,  do.,  op.  4  (1879); 
The  Cyclops,  cantata,  op.  5  (1880) ;  La  the 
Black  Forest,  suite  for  orchestra,  op.  1 
(187(j) ;  Evening  on  the  seashore,  idyl  for 
do.,  op.  2  (187G) ;  Ossian,  overture  for  do.. 
Philharmonic  Society,  Loudon,  1882  ;  Songs 
and  part-songs. 

CORELLI,  ARCANGELO,  born  at 
Fusignauo,  near  Luola,  iu  the  Bologuese 
territory,  February,  1653,  died  in  Rome, 
Jan.  18,  1713.  He  studied  counterpoint 
under  Matteo  Simonelli,  and  the  violin 
under  G.  B.  Bassani.  It  has  been  sup- 
posed that  he  went  to  Paris,  and  was  driv- 
en thence  by  the  jealousy  and  inti-igues 
of  Lulli,  but  this  is  more  than  doubtful  ; 
that  he  travelled  through  parts  of  Germany 
is  more  certain,  for  we  know  that  he  was 
in  the  service  of  the  Elector  of  Bavaria  iu 
1680.  In  1683  he  settled  in  Rome,  pub- 
lishing there  his  first  opus  (sonatas  for 
two  violins  and  bass,  with  organ  accomjaa- 
niment).  His  reputation  was  already  great 
at  this  time.  The  King  of  Naples  invited 
him  repeatedly  to  come  to  that  city,  but  it 
was  only  during  the  later  years  of  his  life 
that  he  really  went  there.  His  success  on 
this  visit  was  brilliant,  but  one  or  two  tri- 
fling mishaps  (slips  made  in  trying  to  read 
at  sight  music  in  an  unaccustomed  style)  so 
annoyed  him  that  he  returned  to  Rome, 
feeling  that  he  had  disgraced  himself.     A 


similar  thing  had  occurred  to  him  once  be- 
fore iu  Rome,  when  he  tried  to  read  a 
passage  of  Handel's 


which   that   master 
put    before    him. 
On    his    return,  he 
found  that  an  oboe 
player  (name  un- 
known), and  Valen- 
tiui,    the    violinist, 
albeit    far    inferior 
artists    to    himself, 
had  supplanted  him 
iu  the  admiration  of  the  public,  and  he  fell 
into  a  melancholy  which  did  not  leave  him 
until  his  death.     He  was  buried  in  the  Pan- 
theon near  Raphael,  and  a  marble  monument 
was  erected  over  his  tomb  by  Cardinal  Otto- 
boni,  who  had  been  his  chief  patron  during 
life.     Corelli  is  certainly  one  of  the  greatest 
figures  in  the  history  of  violin  music.     His 
specific  executive  power  was  probably  not 
extraordinarily  brilliant,  even  for  his  day  ; 
his  violin  parts  never  run  higher  than  the 
third  p)osition,  and  present  no  very  great 
difficulties  of  any  sort.     But  his  style  as  a 
player  was  perfection  itself ;  no   one  ever 
understood   the  true  nature  of  the  violin 
better  than  he.     In  composition  he  was  a 
master ;  his  works  are  models  of  elegance 
and  correctness  of  style,  and  are  especially 
noteworthy   for   the    way    in    which    they 
bring  out  the  finest  qualities  of  the  violin. 
Indeed,  Corelli  occupies  very  much  the  po- 
sition in  the  history  of  the  violin  that  P. 
Emanuel  Bach  does  iu  that  of  the  jjiano- 
forte.      Published  works  :    1.  12  sonate   a 
tre,  due  violini  e  violoncello,  col  basso  per 
r  organo,  op.  1  (Rome,  1683) ;  2.  12  suo- 
nate  da  camera  a  tre,  due  violini,  violoncello 
e  violone  o  cembalo,  op.  2  (Rome,  1685) ;  3. 
12  suonate  a  tre,  due  violini  e  arciliuto  col 
basso  per  1'  organo,  op.  3  (Bologna,  1G90, 
Antwerp,  1G81) ;  4.   12  suonate  da  camera  a 
tre,  due  violini  e  violone  o  cembalo,  op.  4 
(Bologna,  1694 ;  an  Amsterdam  edition  has 
the  title   Balletti  da  camera) ;    5.  12   suo- 
nate a  violino  e  violone  o  cembalo,  op.  5 


35S 


CORETTE 


(Rome,  1700  ;  the  same  arranged  by  Ge- 
miniani  as   Concert!   srrossi) ;    G.  Coiicerti 


gi'ossi  con  due  violine  e  violoncello  di  con- 
certino obligati,  e  due  altri  violini  e  basso 
di  concerto  grosso  ad  arbitrio  che  si  po- 
tranno  radoppiare,  op.  G  (Rome,  1712). 
Several  other  editions  of  most  of  these 
works  have  been  published  since,  but  all 
other  compositions  purporting  to  be  by 
CorelU  are  spurious. — Wasielewski,  Die  Vio- 
line uud  ihre  Meister,  38  ;  Grove  ;  Fetis. 

CORETTE,  •,  lived  in  Paris,  second 

half  of  the  18th  century.  He  wrote  for  the 
Opera  Comique,  then  the  rival  of  the  Come- 
die  Italienne.  "Works :  Les  ages,  ballet 
pantomime  ;  Le  jugement  de  Midas  ;  Nina, 
pantomime  italienne  ;  Arlequin  Persoe,  Ar- 
mide,  pantomimes  a  machines ;  Ai'lequin 
boulanger,  pantomime  en  vaudeville  ;  Di- 
ane et  Eudymion,  ballet  pantomime,  Paris 
and  London  ;  Concertos  eomiques.  Opera 
Comique  ;  Les  Tricotes  ;  Ma  mie  Margot ; 
La  bequille  du  pere  Barnabas  ;  Les  pan- 
tins,  ballet  general  ;  La  touriere,  panto- 
mime. He  wrote  also  the  music  to  La 
fete  infernale,  by  Valois,  and  of  several 
ballets  in  the  ojieras-comiques  by  Pannard, 
Carolet,  Favart,  Lagrange,  and  other.s. — Fe- 
tis,  Supplement,  i.  '201. 

CORFE,  ARTHUR  THOMAS,  born  in 
Salisbury,  England,  April  !),  1773,  died 
there,  Jan.  28,  1863.  Organist,  son  of 
Joseph  Corfe.  In  1783  he  became  a  chor- 
ister at  Westminster  Abbey,  and  he  stud- 
ied the  jiianoforte  under  Muzio  Clemcnti. 
In  1801  he  succeeded  his  father  as  organist 
and  master  of  the  children  of  Salisbury  Ca- 
thedral. He  wrote  and  published  :  A  ser- 
vice :  Anthem,  Lord,  thou  art  become  gi-a- 
cious ;  Ordination  Hymn,  from  Handel's 
works  ;  Pianoforte  pieces,  songs,  glees,  etc. 
He  was  the  author  also  of  a  didactic  woi'k, 
"  Principles  of  Harmony  and  Thorough 
Bass." — Grove  ;  Fetis  ;  Mendel. 


CORFE,  CHARLES  WILLIAM,  born  in 
Salisbury,  England,  July  13,  1814,  died  in 
Oxford,  Dec.  IG,  1883.  Organist,  son  and 
pupil  of  Arthur  Thomas  Corfe.  He  was  ap- 
pointed organist  of  Christ  Church  Cathe- 
dral, Oxford,  in  1816.  Mas.  Bac,  Oxford, 
1817  ;  Mus.  Doc,  ib.,  1852  ;  Choragus  of 
the  University  of  Oxford,  1860  ;  retired  in 
1882  from  ill-health.  He  published  some 
songs,  glees,  and  anthems.  His  brother, 
John  Davis  Corfe  (1801-187G),  was  for  many 
years  conductor  of  the  Bristol  Madrigal 
Society,  one  of  the  best  choirs  in  England. 

CORFE,  JOSEPH,  born  in  Salisbury, 
England,  in  1740,  died  in  1820.  Chorister 
in  Salisbury  Cathedral,  gentleman  of  the 
Chapel  Royal  in  1782,  and  organist  and 
choirmaster  of  Salisbury  Cathedral  from 
1792  to  1804.  He  j'ublished  a  volume  of 
cathedral  music,  consisting  of  a  service, 
eight  anthems,  etc.  ;  Three  sets  of  glees  of 
twelve  each ;  Beauties  of  Handel,  154  songs, 
duets,  and  trios  with  jiianoforte  accompani- 
ment (3  vols.,  n.  d.)  ;  Three  collections  of 
Scottish  songs  ;  Nine  vocal  trios  ;  Treatise 
on  Singing  (London,  1791) ;  Thorough 
Bass  Simplified  (London,  n.  d.). — Grove  ; 
Brown. 

CORIGLIANO,  Cavaliere  DOilENICO, 
born  at  the  Castle  of  Rignano,  Naj^les,  Jan. 
17,  1770,  died  in  Naples,  Feb.  22,  1838. 
Yocal  composer,  studied  music  at  Naples, 
became  a  knight  of  the  Order  of  St.  John 
in  1795,  and  embarked  for  Malta  two  years 
after.  Finding  the  island  in  the  power  of 
the  French  under  Bonaparte,  and  the 
knights  disjjersed,  he  returned  to  Naples 
and,  after  the  return  of  King  Ferdinand, 
was  for  five  years  commissioner  of  the  royal 
theatres.  Works  :  Collection  of  romances 
and  canzonets  (Naj^les,  1814) ;  12  duets  for 
tenor  and  soprano  (Paris,  1818)  ;  12  ariette 
for  soprano  (ib.)  ;  Four  ariette  (JNIilan)  ;  Lira 
sentimeutale,  36  melodies  (Naples,  1822)  ; 
others  published  in  Florence  and  Rome. 
He  left  also  in  manuscript  a  large  number 
of  duets,  trios,  and  quartets. — Fetis  ;  Men- 
del. 


S6S 


COEIOLAN 


CORIOLAN,  overture  in  C  minor,  to  Col- 
lin's tragedy,  of  the  same  title,  by  Beethoven, 
op.  62,  composed  in  April,  1807.  Dedicated 
to  the  poet  Heinrich  Joseph  vou  Collin. 
First  performed  iu  the  Liebhaberzconcert, 
Vienna,  December,  1807,  and  published  in 
1808.  Edition  of  Breitkopf  &  Hiirtel  (Leip- 
sic),  Beethovens  ^Yerke,  Ouverturen  fiir  Or- 
chester,  No.  1.  Given  by  the  Philharmonic 
Societj-,  New  York,  first  time,  1857-58. 
Collin's  tragedy,  five  acts,  was  represented 
in  Berlin,  ISO-l.— Thayer,  Yerzeichniss,  72  ; 
Lenz,  Beethoven,  ii.  62  ;  Schiudler,  i.  142. 

CORIOLANDS,  the  hero  of  one  of   the 
early  Roman  legends  (i3.c.  490  ?),  is  the  sub- 
ject  of   the   following   operas  :    Coriolano, 
Italian  opera,   music  by   Cavalli,   given  iu 
Parma,  1669 ;  by  Caldara,    Vienna,  1717  ; 
by  Ariosti,  London,  1723  ;  by  Treu,  Bres- 
lau,  about  1726  ;  by  Graun,  Berlin,  1750  ; 
by   Lavigna,    Parma,    1806  ;  by   NiccoHni, 
ililan,  1809.     Marzio  Coriolano,  Italian  op- 
era, text  by  Silvani,  music  by  Perti,  Venice, 
1683  ;  text  by  Matteo  Noris,  music  by  Pol- 
larolo,  Venice,   1698.     Cajo  Marzio  Corio- 
lano, text  by  Moniglia,  music  by  Lorenzo 
Cattani,  Pisa,  about  1700  ;  music  by  Jom- 
melli,  Rome,  1744  ;  by  Pietro  Pulli,  Naples, 
1745  ;  by  Alessaudro  Radicati,  about  1810. 
CORKINE,  ^YILLIAM,  lived  in  England 
iu  16th  and  17th  centuries.   Lute  j)layer  and 
composer.     Nothing  is  known  of   his  life. 
Published  works  :  Ayres  to  Sing  and  Play 
to  the  Lute  and  Basse  Violl ;   with  Pavins, 
Galliards,  Almaines  and   Corantos  for  the 
Lyra  Violl  (1610)  ;    The  Second  Book   of 
Ayres,  some  to  sing  and  play  to  the  Base 
Violl  alone  ;  others  to  be  sung  to  the  Lute 
and  Base  Y'ioll  with  new  Corautoes,  etc.,  as 
also  divers  new  Descants  upon  old  Grounds, 
set  to  the  Lyra  Violl  (1612).— Grove  ;  F6- 
tis  ;  Mendel. 

CORNELIUS,  PETER,  born  in  Mainz, 
Dec.  24,  1824,  died  there,  Oct.  24,  1874. 
Dramatic  composer,  one  of  the  principal 
members  of  the  new  German  school.  He 
was  a  nephew  of  Peter  von  Cornelius  the 
painter,  and  was  intended  for  the  stage. 


but  adopted  music  as  a  profession  and  in 
1852  joined  the  young  artists  at  ^Yeimar 
who,  under  Liszt's 
leadership,  were 
striving  to  carry 


out  the  ideas  of 
Richard  Wagner. 
He  undertook  to 
elucidate  the  new 
principles  iu  the 
Neue  Zeitschrift 
fiir  Musik,  the  or- 
gan of  the  party, 
and   composed  a 

comic  opera,  Der  Barbier  von  Bagdad,  of 
which  only  a  single  performance  took  place, 
in  1858,  but  which  was  revived  and  much 
applauded  in  several  cities  of  Germany  in 
1886-87.  He  then  went  to  Vienna  and  join- 
ed Wagner,  whom  he  followed  in  1865  to 
Munich,  where  he  became  reader  to  King 
Ludwig  II.  and  professsor  of  harmony  and 
rhetoric  at  the  Kunigliche  Musikschule. 
His  ojiera,  Der  Cid,  was  performed  at  Wei- 
mar iu  1865,  and  he  was  at  work  on  Guu- 
lod,  taken  from  the  legends  of  the  Edda, 
when  he  died.    Among  his  published  works, 

are  :   Duets   for 
soprauo  and  bar- 
i  t  o  n  e ,    op.    6  ; 
Lieder-Cy  c  1  u  s, 
op.  3  ;  Weiluachtslieder,  op.  8  ;  and  Trauer- 
chore,  for  men's  voices,  op.  9.— Mus.  Woch- 
enblatt.  Autobiography,  v.  551 ;  N.  Zeitschr. 
f.   Mus.   (1887),   517,   531,   542,   551,   574  ; 
(1888),  1  ;  Sammlung  mus.  Vortrilge  (Breit- 
kopf &  Hiirtel),  ii.  225  ;  Sandberger,  Leben 
und   Werke    des    Dichter-Musikers   P.    C. 
(Leipsic,  1887). 

CORNET,  SI^VERIN,  born  at  Valenci- 
ennes about  1540,  died  ('?).  He  studied  mu- 
sic in  Italy,  and  was  master  of  the  choris- 
ters at  the  Church  of  Notre  Dame,  Antwerp, 
!a  position  he  held  until  his  death.  His 
last  pupil  was  Corneille  Werdonck.  Works  : 
Chansons  fran«;aises  a  cinq,  six  et  huit 
parties  ;  Madrigali  a  5,  6,  7  e  8  voci  ;  Can- 
tiones  musicte,  5,  6,  7  et  8  vocum  (1581)  ; 


-i^^^^^^'-^t^*:^ 


367 


CORNETTE 


Motetti  a  5,  6,  7  e  8  voci  (1582).— Fetis  ; 
Mendel. 

CORNETTE,  LOUIS  HIPPOLYTE,  born 
at  Amiens  in  17G0,  died  there  in  1832. 
Ciiurcli  composer,  first  instructed  at  the 
cathedral  of  his  native  city,  where  he  was 
a  choir-boy,  then  in  Paris  pujjil  of  the 
Abbe  Duguet.  After  his  return  to  Amiens 
he  became  organist,  and  later  maitre  de 
chapelle  at  the  cathedral.  He  left  in  man- 
uscript many  masses,  motets,  psalms,  hymns, 
and  other  church  music. — Ft'tis  ;  Mendel. 

CORNETTE,  VICTOR,  born  at  Amiens, 
France,  in  1795,  died  (?).  Instrumental 
composer  and  virtuoso,  son  and  pupil  of 
the  preceding  ;  then  at  the  Conservatoire, 
Paris,  pujjil  of  Lesueur.  As  musician  of  a 
i-egiment  he  took  part  in  the  campaigns  of 
1813-14  in  Holland  and  Belgium,  was  con- 
ductor of  a  regimental  baud  in  the  service 
of  the  King  of  Holland  in  1815-17,  then 
professor  at  the  Jesuits'  College  of  Saint- 
Acheiil  until  1824  Having  been  a  mem- 
ber of  the  orchestras  at  different  theatres 
in  Paris  in  1825—42,  and  chef  d'orchestre 
at  the  theatre  in  Strasburg  in  1842-41, 
he  returned  to  Paris,  was  chef  des  chceui's 
at  the  Opera  in  1847-48,  then  entered  upon 
his  former  position  in  the  orchestra  of  the 
Opera  Comique.  He  was  also  adjunct  or- 
ganist at  Saiut-Sulpice,  and  at  the  Cha- 
pelle des  luvalides.  Able  to  j^lay  ui^on 
most  instruments,  and  having  a  thorough 
knowledge  of  all,  he  was  asked  by  Paris 
jjublishers  to  write  methods  for  many  in- 
struments. He  arranged  for  the  pianoforte 
thirty-nine  scores  of  operas,  and  church  mu- 
sic. Of  his  own  compositions  are  known  : 
37  airs  varies,  for  cornet ;  24  duos  for  do.  ; 
18  duos  for  bassoons  ;  14  grand  studies  for 
cornet  ;  6  do.  for  trombone  ;  5  quadrilles  for 
military  band  ;  2  suites  of  waltzes  for  do. ; 
150  miscellaneous  pieces  for  different  in- 
struments.— Fetis  ;  Mendel. 

CORNETTI,  PAOLO,  born  in  Rome  in 
the  early  part  of  the  17th  century.  He  was 
a  monk  of  one  of  the  strict  orders,  and 
maestro  di  cappella  of  the  confraternity  of 


the  Holy  Spirit  at  Ferrara.  Works ;  Mo- 
tetti concertati  a  1,  2,  3,  4,  5,  6  voci,  etc. 
(Venice,  1638).  The  first  part  of  this  col- 
lection was  reprinted  with  the  title  Sacnie 
cautioues,  etc.,  op.  1,  lib.  i.  (Antwerp,  1G45). 
—Fetis  ;  Mendel. 

CORNU,  RENP:,  born  in  Paris,  April  2, 
1792,  died  there,  June,  1832.  Pianist,  son 
of  a  sub-teacher  of  singing  at  Notre  Dame 
de  Paris  ;  received  his  first  musical  edu- 
cation in  the  free  school  of  that  cathedral ; 
pupil  of  Ladurner  on  the  pianoforte,  and  of 
Desvignes  and  Eler  in  composition.  Pub- 
lished works  :  Vive  Henri  IV.,  varie  pom- 
piano,  op.  3  ;  Chaur  d'lphigenie  en  Aulide, 
varie  pour  piano,  op.  4  ;  Charmante  Ga- 
brielle  ;  Varie,  op.  6  ;  Quand  le  bien-aime 
reviendra,  op.  8  ;  God  save  the  King ;  etc. 
He  wrote  also  a  Messe  solennelle,  given  at 
Notre  Dame. — Fetis. 

CORONA,  LA  (The  Crown),  Italian  op- 
eretta in  one  act,  text  by  Metastasio,  mu- 
sic by  Gluck,  represented  at  the  Imperial 
Court,  Vienna,  17C5.  Subject,  the  hunt- 
ing of  the  Caledonian  boar.  Scene  in  the 
Caledonian  forest.  Characters  represented : 
Atalauta,  princess  of  Argos,  attendant  of 
Diana  and  friend  of  Asteria  ;  Meleagro, 
prince  of  .3Etolia,  leader  of  the  Caledonian 
chase  ;  Climene,  attendant  of  Minerva,  sis- 
ter of  Atalanta  ;  Asteria,  sister  of  Meleagro, 
attendant  of  Diana  and  friend  of  Atalanta  ; 
Chorus  of  huntsmen,  etc. 

CORONARO,  GAETANO,  contemporary 
Italian  composer,  pupil  at  the  Conservatorio, 
Milan,  which  he  left  in  1873.  At  the  an- 
nual exercises  he  brought  out,  with  great 
success,  a  lyrical  scene  entitled,  Un  tra^ 
monto,  written  to  words  by  Arrigo  Boito. 
He  was  afterwards  chosen  to  compose  the 
music  for  an  opera.  La  Creole  ;  and  a  fund 
having  been  given  by  the  music  publisher 
Lucca  for  the  best  graduate  of  the  Con- 
servatorio, it  was  awarded  to  Coronaro,  who 
then  visited  the  great  art  centres  of  Europe, 
Paris,  Vienna,  Berlin,  Cologne,  Leipsic,  and 
Dresden.  On  his  return  he  published  a 
Vocal  Album,  containing  sis  pieces  ([Milan, 


368 


coro:n'ation 


Ricordi)  ;  also,  Nimierella,  for  violin,  with 
pianoforte  (ib.).  He  was  assistant  maestro 
concertante  at  ILe  Teatro  della  Scala,  187G. 
— Fetis,  Sui^pk'uient,  i.  202. 

CORONATION  ANTHEM,  music  by  Han- 
del, composed  for  and  performed  at  the 
coronation  ceremony  of  George  li.,  West- 
minster Abbey,  Oct.  11,  1727.  It  is  ar- 
ranged in  the  original  score  in  four  divi- 
sions, as  follows :  I.  Zadok  the  Priest 
(1  Kings,  i.  38-40).  H  Let  thy  deeds  be 
glorious  (Ps.,  Ixsxix.  14,  15).  HI.  The 
King  shall  rejoice  (Ps.,  xxi.  1).  IV.  My 
heart  is  inditing  (Ps.,  xlv.  1).  The  MS.,  in 
Buckingham  Palace,  is  undated,  but  the 
music  was  rehearsed  at  Westminster  Abbey, 
Sept.  G,  1727.  It  was  first  published  by 
Walsh  ;  reprinted  by  Arnold  ;  Handel  Soci- 
ety (London,  1843-44) ;  Hiindelgesellschaft 
(Leipsic,  18G3). — Rockstro,  Handel,  153  ; 
Schceleher,  78. 

CORONINI,  PAOLO,  born  at  Vincenza 
in  1796,  died  Jan.  14,  1875.  Violinist; 
travelled  a  great  deal  while  young,  settled 
at  Trieste  in  1828,  and  became  conductor 
of  the  orchestra  at  the  Opera,  and  first 
violin  at  the  Chaj^el  of  St.  Just.  Works : 
Collection  of  scales  and  mechanical  exer- 
cises ;  Exercises  with  second  violin  in 
counterjjoiut ;  Melodic  scales  with  adagios  ; 
42  fitudes.  Caprice  brillant  ;  2  Variations 
on  original  themes,  with  orchestra,  or 
pianoforte  ;  Fantaisie  a  la  Paganini ;  Grand 
Rondo,  with  quartet ;  Polonaise  brillante, 
with  orchestra  ;  etc. — Futis,  Supplement, 
i.  202. 

CORRADINI,  NHCOLi'),  born  in  Berga- 
mo, Italy,  maestro  di  cappella  of  the  jJi'in- 
cipal  chui-ches  of  Cremona  about  the  close 
of  the  IGtli  centurj'.  He  was  also  maestro 
at  the  Accademia  degl'  Animosi,  Cremona. 
Published  a  collection,  Canzoni  francesi  a 
quattro  voci.  His  most  important  work  is, 
Motetti  a  una,  due,  tre  e  quattro  voci,  fra 
quali  ve  ne  sono  alcuni  concertati  con  in- 
stromenti,  e  con  il  basso  continue  per 
r  organo,  lib.  primo  (Venice,  1G24). — Fi'tis  ; 
Mendel. 


CORREA,  Trade  MANOEL,  born  in  Lis- 
bon latter  half  of  the  16th  century.  Car- 
melite monk,  mestre  de  capella  in  1625  of 
the  Church  of  Santa  Cathariua.  He  was 
the  author  of  a  motet,  Adjuva  nos,  Deus, 
for  five  voices,  which  is  preserved  in  the  MS. 
department  of  the  Librai-y  of  the  King  of 
Portugal.  Another  Manoel  Correa,  born  at 
Lisbon  about  the  same  time,  was  chaplain  of 
the  cathedral  at  Seville  in  1625.  He  wrote 
some  motets,  which  are  also  preserved  in 
the  Library  of  the  King  of  Portugal. — Fc- 
tis ;  Mendel. 

CORREA,  HENRIQUES  CARLOS,  born 
in  Lisbon,  Feb.  10,  1680,  died  (?).  Mestre 
de  cajiella  of  the  cathedral  at  Coimbre.  He 
wrote  many  masses,  motets,  and  other  church 
music,  preserved  in  the  MS.  department  of 
the  Library  of  the  King  of  Portugal.  A  list 
is  given  by  Machado. — Bibliotheca  Lusita- 
nia,  ii.  44G  ;  Fetis  ;  MendeL 

CORRETTE,  mCHEL,  bom  at  St.  Ger- 
main, France,  organist  in  1755  of  the  Col- 
lege des  Josuites  of  the  rue  St.  Antoine, 
Paris.  An  enthusiastic  admirer  of  French 
music  ;  he  gave  firivate  concerts  at  which 
the  music  of  Lulli  and  Campra  was  played, 
together  with  cantatas  of  his  own,  which  he 
accompanied  on  the  harpsichord.  He  ojiened 
a  music  school,  and  wrote  many  elementary 
works.  He  was  organist  to  the  Due  d'An- 
goulome  in  1780.  Works  :  Les  soirees  de 
la  ville,  cantates  a  voix  seule  avec  basse 
continue  pour  le  clavecin  (1771) ;  Methode 
pour  apprendre  a  jouer  de  la  liarpe  (1774) ; 
Mc'thode  pour  apprendre  a  jouer  de  la  flilte 
traversiere  (1788) ;  Le  parfait  maitre  a  chan- 
ter ;  Methode  pour  apprendre  facilemeut  a 
jouer  de  la  quinte  ou  de  I'alto  (1782) ;  L'art 
de  se  perfectionner  sur  le  violon  ;  Methode 
pour  le  violonceUe  contenant  les  veritables 
positions  (1782)  ;  Methode  pour  apprendre 
a  jouer  de  la  vielle  (1783).  These  works 
contain  some  curious  information  relating 
to  French  music  in  the  middle  of  the  18th 
century. — Fetis ;  Mendel. 

CORRETTE,  INHCHEL,  fils,  son  of  the 
preceding,  and  organist  of  the  Church  of  the 


359 


COEPJ 


Temple,  Paris.  He  published  Pieces  pour 
I'orgue  clans  un  genre  nouveaii,  :i  Fusage 
ties  dames  religieuses  et  de  ceux  qui  tou- 
cbent  I'orgue,  avec  le  melange  des  jeux  et 
la  maniere  d'imiter  le  tonnerre  (1786). — Fe- 
tis  ;  Mendel. 

CORRI,  DOMENICO,  born  in  Naples  in 
nH  (Rome,  1746 '?),  died  in  London,  May 
22,  1825.  Dramatic  composer,  pupil  in  Na- 
ples of  Porpora,  in  1763-67.  In  1774:  be 
went  to  London,  where  be  was  a  teacher  and 
music  publisher.  He  lived  for  a  while  also 
in  Edinburgh,  where  be  conducted  the  Mu- 
sical Society.  Works — Operas :  Alessaodro 
neir  Lidie,  given  in  Loudon,  1774  ;  The 
Travellers,  ib.,  about  1815.  He  wrote  also 
two  volumes  of  sonatas  for  the  pianoforte, 
rondos,  and  manj'  songs  to  English,  French, 
and  Italian  words  ;  and  published  a  Musical 
Dictionary  (1708),  Ai-t  of  Fingering  (1798), 
Musical  Grammar,  etc.  His  sons,  Monta- 
gue Corri  (1784-1849)  and  Haydn  Corri 
(1785-1800),  were  music  teachers  and  com- 
posers. His  daughter,  Sophie  Corri  (born, 
1775),  who  married  Johann  Ludwig  Dus- 
sek,  was  a  singer  and  harpist. — Fetis ; 
Grove  ;  Mendel ;  Schilling. 

CORRI,  PIETRO,  born  at  Naples  in  the 
early  -pnvt  of  this  century,  died  (?).  Dra- 
matic composer,  pupil  of  Donizetti.  Works  : 
Galeotto  Manfredi,  given  in  Rome,  Teatro 
Valle,  1839  ;  Argia  in  Atene,  ib.,  Teatro  Ar- 
gentina, 1846. — Fetis. 

CORS.A[R,  THE,  cantata,  text  by  R.  E. 
Francillon,  adapted  from  Byron's  poem, 
music  by  Frederic  Hymen  Cowen,  com- 
posed for  the  Birmingham  (England)  Festi- 
val, Aug.  29,  1876.  Sung  by  Mile  Tietjens 
(Gulnare),  Mme  Lemmens  (Medora),  3Ir. 
Lloyd  (Conrad),  and  Signer  Foli  (Seyd). 

CORSAIRE,  LE  (The  Corsair),  opL'ra-co- 
miquc  in  three  acts,  text  by  La  Chabeaus- 
siere,  music  by  Dalayrac,  represented  at 
the  Theatre  Italien,  Paris,  March  17,  1783. 
The  success  of  this,  one  of  Dalayrac's  ear- 
liest works,  decided  him  to  devote  himself 
to  a  dramatic  career.  Of  a  similar  title  are 
the  following:  Der  Corsar,  German  oi^eraj 


music  by  Weigl,  Vienna,  about  1790  ;  and 
in  three  acts,  by  Rietz,  Leipsic,  1850.  The 
Corsair,  English  ojjera,  music  by  Samuel  Ar- 
nold, London,  1801  ;  by  Jonathan  Blewitt, 
London,  1812  ;  and  by  Christopher  Dessel, 
text  after  Byron's  "Corsair,"  London,  1873. 
II  Corsaro,  Italian  ojjera,  music  by  Celli, 
Rome,  1823  ;  by  Pacini,  Rome,  1831  ;  by 
Luigi  Arditi,  Havana,  1846 ;  by  Pappa- 
lardo,  Naples,  1846  ;  by  Misi,  Turin,  1847  ; 
by  Verdi,  Trieste,  1848.  La  Corsara,  Italian 
opera,  music  by  Piccinni,  Naples,  1772.  I 
Corsari,  Italian  opera,  text  by  Romani,  mu- 
sic by  Mazzucato,  Milau,  Feb.  15,  1840.  A 
Danish  ojjera  called  The  Corsairs,  by  Hart- 
mann,  was  given  at  Copenhagen  in  1836. 
Le  Corsaire  noir,  opera-boufl'e  in  three  acts, 
text  and  music  by  Offenbach,  Theater  an 
der  Wien,  Vienna,  Sept.  21,  1872. 

CORSAIRE,  LE,  overture  for  full  orches- 
tra, by  Hector  Berlioz,  op.  21.  Dedicated 
to  "  son  ami  Davison."  Published  by  Ri- 
chault  (Paris). 

CORSI,  BERNARDO,  born  in  Cremona, 
Italy,  lived  at  the  beginning  of  the  17th 
century.  He  published,  in  1617,  psalms  for 
five  voices  entitled  :  Sacra  ouni.  Solemn, 
vespertiua  jisalmodia,  5  vocum,  op.  6  ;  Le- 
tanie,  autifouie  e  motetti  a  8  voci ;  Psalmi 
vespertini  octo  vocum,  op.  7  ;  Concerti  o 
motetti  a  1,  2,  3,  4  voci,  con  lui  Magnificat, 
op.  5  (1613)  ;  Compieta,  motetti  e  Letauie 
della  B.  V.  a  otto  voci,  op.  9  (Venice,  1619). 
— Fetis  ;  Jlendel. 

CORSI,  GIUSEPPE,  maestro  di  cappella 
of  S.  M.  Maggiore,  Rome,  in  1G07,  accord- 
ing to  a  collection  of  motets  pubUshed  in 
that  year,  though  his  name  is  not  found  iu 
the  Abbate  Baini's  list  of  the  maestri  of  that 
church.  He  wrote  :  Motetti  a  2,  3,  4  voci 
(Rome,  1667) ;  Miserere  a  cinque  ;  Motetti 
a  9.— Fetis  ;  Mendel. 

CORTECCIA,  FRANCESCO  DI  BER- 
NARDO, born  in  Arezzo  early  in  the  16th 
century,  died  in  Florence,  June  7,  1571. 
His  family  settled  iu  Florence  when  he  was 
very  young,  whence  he  has  generally  been 
called  a  Floreutiue.     He  was  organist  in 


360 


COETELLIXI 


1531  of  tlie  Cburcn  of  S.  Lorenzo,  of  wbicli 
he  was  also  a  canon,  aud  maestro  di  cappella 
ill  154:1-71  to  Cosmo  the  Great.  The  old- 
est of  his  compositions,  nine  pieces  for  four, 
six,  and  eight  voices,  are  in  a  rare  work  in 
the  Imiierial  Library,  Vienna,  entitled  :  Mu- 
siche  fatte  uelle  nozze  dello  illustrissimo 
duca  di  Fironze,  il  Signor  Cosimo  de'  Me- 
dici, etc.  (Venice,  Gardane,  1539).  Other 
works :  Madrigali  a  quattro  voci,  lib.  i  and 
ii  (ib.,  1515,  1547)  ;  Primo  libro  de'  Madri- 
gali a  5  e  G  voci  (ib.,  1517)  ;  Responsoria  et 
lectiones  hebdomadre  sanctse  (ib.,  1570  ; 
but  see  Goriwcid)  ;  Kesiduum  cantiei  Zac- 
charise  (ib.,  1570)  ;  Cauticorum  liber  pri- 
mus (ib.,  1571).  A  volume  containing 
thirty-two  hymns  in  4-part  counterpoint  is 
in  the  Laureutiau  Library,  Florence,  and  a 
copy  of  the  madrigals  is  in  Christ  Church 
Library,  Oxford. — Grove  ;  Ft'tis  ;  Mendel. 

CORTELLINI,  CAMILLO,  lived  at  the 
begiimiug  of  the  17th  centuiy.  Violinist 
in  the  service  of  the  municipality  of  Bo- 
logna. From  his  proficiency  on  the  violin 
he  was  called  II  Violiuo.  Several  volumes 
of  his  25saltns,  litanies,  masses,  and  other  sa- 
cred pieces  were  published  by  Vicenti,  of 
Venice. — Ft'tis. 

CORTESI,  FRANCESCO,  Italian  dra- 
matic composer,  author  of  the  following 
operas  :  Michaela,  Parma,  1855  ;  L'  etra, 
Siena,  1857 ;  Almina,  Rome,  1859  ;  Le 
dame  a  servire,  1859  ;  La  colj)a  del  cuore, 
Florence,  Teatro  della  Pergola,  1870  ;  Ma- 
riulizza,  ib.,  1871. — Fetis,  SuppKment,  i. 
203. 

CORTEZ.     See  Fernnnd  Cortez. 

CORTICCIO,  FRANCESCO,  born  in  Ve 
rona,  lived  in  the  second  half  of  the  16th 
century.  He  is  the  author  of  a  collection 
of  madrigals  for  five  voices  entitled :  Fiam- 
mette  dell'  amore  (Venice,  15G9).  It  is 
very  probable,  says  Fetis,  that  a  work  pub- 
lished under  the  name  of  Cortitius,  with 
the  title,  Responsoria  et  lectiones  hebdo- 
mads sanctai,  4  vocum,  is  by  Corticcio  aud 
not  by  Corteccia,  although  attributed  to  the 
latter. — Fetis  ;  Mendel. 


CORTONNA,  ANTONIO,  born  in  Venice, 
beginning  of  the  18th  century.  Nothing  is 
known  of  his  history.  He  is  the  author  of 
two  operas  :  Amor  iudovino,  given  at  Ven- 
ice in  172G  ;  and  Marianne,  ib.,  1728.— Fe- 
tis ;  Mendel. 

COSA  SENTO  ?  TOSTO  ANDATE.  See 
Nozze  di  Figaro. 

COSl  FAN  TUTTE  (They  all  do  it), 
ossia  La  scuola  degli  amanti  (The  School 
for  Lovers),  ojsera  bufl'a  in  two  acts,  text  by 
Da  Ponte,  music  by  !Mozart,  first  rejne- 
sented  in  Vienna,  Jan.  2G,  1790.  It  was 
written  bj'  command  of  the  Emperor  Jo- 
seph n.,  but  he  died  before  the  first  per- 
formance, and  Mozart  did  not  reap  from 
the  work  the  benefits  for  which  he  had 
hoped — the  nomination  as  second  Kajjell- 
meister  to  the  court.  The  libretto  is  so 
bad  that  on  its  production  in  Paris,  in  1807, 
the  music  was  fitted  to  a  new  text  entitled 
Le  laboui'eur  chiuois.  In  18G2  it  was  pro- 
duced at  the  Italiens  with  the  original 
words,  and  on  March  31,  18G3,  with  a  new 
libretto  by  Michel  Carre  and  Jules  Barbier, 
arranged  from  Shakespeare's  "  Love's  La- 
bour's Lost,"  entitled  Peines  d'amour  per- 
dues  ;  but  in  the  change  of  the  plot,  the 
scene,  and  the  epoch,  the  noble  inusic  of 
Mozart  was  spoiled.  It  was  produced  at  the 
King's  Theatre,  London,  May  9,  1811 ;  and 
in  1828,  in  an  English  version,  as  Tit  for  Tat. 
In  Germany  it  was  given  under  various 
titles  :  Scliule  der  Liebe,  Vienna,  1794  ;  Die 
Wette,  Oder  Madchenlist,  Munich,  1795; 
Mildchentreue,  Berlin  and  Leipsic,  1805  ; 
Die  Zauberprobe,  Vienna,  1814  ;  Mildchen 
sind  Miidchen,  Stuttgart,  181G ;  Sind  sie 
treu  ?  Stuttgart,  1856  ;  Weibertreue,  Dres- 
den, 1856 ;  So  machen's  Alle,  Carlsruhe, 
18G0  ;  Alle  wie  Fine,  Dresden,  1871. — Hans- 
lick,  jNIoderne  Oper,  43. 

COSim,  NICOLO,  born  in  Rome,  sec- 
ond half  of  the  17th  century.  Violinist, 
pupil  of  Corelli  (V).  He  went  to  London 
in  1702,  and  published  twelve  solos  for  vio- 
lin, dedicated  to  the  Duke  of  Bedford  (Lon- 
don, 1706).— Fetis;  Mendel. 


361 


COSSET 


COSSET,  FRANgOIS,  loorn  in  Saint- 
Qiientin,  France,  about  1620.  He  was 
educated  at  the  free  school  of  Saint-Queu- 
tiii,  became  minor  canon  of  the  church  of 
Laon,  and  subsequently  maitre  de  cha- 
pelle  of  the  Cathedral  of  llheims,  where  he 
remained  four  years.  Works :  Missa  quatuor 
vocum  ad  imit.  mod.  ;  Cantate  Domino  ; 
IVIissa  sex  vocum  ad  imit.  mod.  ;  Domine 
salvum  fac  regem ;  Missa  sex  vocum  ad 
imit.  mod.  ;  Surge  propera  (1659)  ;  Missa 
quiuque  vocum  ad  imit.  mod. ;  Salvum  me 
fac  Deus  (1661)  ;  Missa  quatuor  vocum  ad 
imit.  mod.  ;  Eructavit  cor  meum  ;  Missa 
sex  vocum  ad  imit.  mod. ;  Super  flumina 
Babj'lonis  (1673)  ;  Missa  quinque  vocibus, 
ad  imit.  mod.  ;  Gaudeamus  omnes  (1676) ; 
Missa  quatuor  vocum  ad  imit.  mod.  ;  Exul- 
tate  Deo  (1G82).— Futis  ;  Mendel. 

COSSMANN,  BERNHAED,  born  at  Des- 
sau, May  17, 1822, 
still  living,  1888. 
Virtuoso  on  the 
violoncello,  jjupil 
of  Espenhahn  and 
Karl  Drechsler,  at 
Brunswick  (1837- 
40)  of  Theodor 
Miiller,  and  in 
Dresden 
Kumm  er. 
then    went 


of 

He 

to 

Paris,  was  a  member  of  the  orchestra  of 
the  Theatre  Italieu  until  1846,  and  made 
concert  tours  to  Baden-Buden,  BerUn,  Leij)- 
sic,  Brunswick,  etc.  In  1847-48  he  was  solo 
violoncellist  of  the  Gewandhaus  concerts 
at  Leipsic,  and  studied  composition  under 
Hauptmann  ;  in  1849  he  played  in  London 
and  at  Windsor  Castle,  and  for  the  Phil- 
harmonic Society  in  Dublin.  Having  spent 
the  following  winter  in  Paris,  he  was  brought 
to  Weimar  through  Liszt  in  1850,  and  ap- 
Ijointed  chamber  virtuoso  and  solo  violon- 
cellist to  the  grand  duke ;  in  1866  he  went 
to  Moscow  as  professor  at  the  Conserva- 
tory, but  returned  to  Germany  in  1870,  and 
settled  at  Badeu-Baden.     He  is  a  virtuoso 


of  the  first  rank.  Works :  Conzertstiick, 
Pieces  de  salon,  Fantasias  on  ojjeratic 
themes. — Fetis  ;  Grove  ;  Mendel. 

COSSONI,  CARLO  DONATO,  born  in 
Italy  about  1640,  died  at  Gravedona,  on 
Lake   Como,    Feb.    8,    1700.     Organist  of 

5.  Petronio,  Bologna,  and  member  of  the 
Accademia  Filarmonica,  ib.,  until  1671  ; 
then  maestro  di  cappella  in  1675  of  the 
Metropolitan  Church  of  Milan,  a  position 
he  resigned  about  1686,  to  accej)t  an  eccle- 
siastical benefice  at  Gravedona.  His  works 
consist  of  masses,  psalms,  motets,  etc.,  of 
which  fifty-two,  composed  in  1665-99,  re- 
main in  manuscrii^t.  The  following  were 
jjublished  in  Bologna :  Lamentazioni,  op. 
5  ;  Salmi  a  otto  voci  (1667)  ;  Salmi  con- 
certati  a  cinque  voci  e  2  violini,  etc.,  op.  6 
(1668)  ;  Motetti  a  2  e  3  voci,  op.  9  (1670)  ; 
Canzouette  amorose  a  voce  sola  (1669). 
— Fetis  ;  Mendel ;  Monatshefte  fiir  Musik- 
geschichte,  iii.  49. 

COSTA,  AFFONSO  VAZ  DA,  born  in 
Portugal,  close  of  the  16th  century.  He 
went  to  Rome  in  his  youth,  and  studied 
singing  and  comj)Osition  under  the  best 
masters  of  the  time.  On  his  return  to 
Portugal,  he  was  mestre  decapellaatBadajos, 
and  afterwards  at  Avila.  His  compositions, 
which  are  quite  numerous,  are  j)reserved  in 
the  MS.  department  of  the  Library  of  the 
King  of  Portugal. — Fctis  ;  Mendel ;  Vascon- 
cellos,  60. 

COSTA,  Frade  ANDRlfi  DA,  born  in  Lis- 
bon, first  half  of  the  17th  century,  died  July 

6,  1685.  In  1650  he  entered  the  confrater- 
nity of  the  Trinity.  He  was  harpist  of  the 
chapel  of  the  kings  Dom  Affouso  VI.,  and 
Dom  Pedro  II.,  of  Portugal,  who  held  him 
in  great  esteem.  His  works  are  in  MS.  in 
the  Library  of  the  King  of  Portugal. — Bi- 
bliog.  Lusit. ;  Ft'tis  ;  Mendel  ;  Vasconcel- 
los,  61. 

COSTA,  FRANCISCO  DA,  born  in  (?), 
died  in  Lisbon  in  1667.  His  works,  all  of 
which  are  in  MS.,  prove  him  to  have  been 
a  thorough  musician  and  clever  theorist. 
For  a  list  of  them  see  Machado — Bibliog. 


COSTA 


Lusit.,  iv.  131  ;  Vasconcellos,  02  ;  Ft'tis  ; 
Mendel. 

COSTA,  FRANCISCO  EDUARDO  DA, 
born  at  Lamego,  Portugal,  May  15,  1815, 
died  in  Oporto  in  185i.  His  parents  re- 
moved in  1822  to  Ojjorto,  where  he  attracted 
the  notice  of  the  Duke  of  Braganza,  who 
commissioned  Costa  to  write  the  Te  Deum 
to  celebrate  the  return  of  the  king  to  Oporto 
(1835).  He  became  leader  at  the  S.  JoiTo 
Theatre,  organized  the  first  Philharmonic 
Society  of  Oporto,  and  was  mestre  de  ca- 
pella  and  organist  of  the  Cathedral.  He 
left  a  quantity  of  church  music,  consisting 
of  masses  with  organ  and  orchestra  ;  Cre- 
dos ;  Libera  me  ;  Responses,  etc. — Fetis, 
Supplement,  i.  201 ;  Vasconcellos,  62  ;  Men- 
del, Ergiinz.,  G8. 

COSTA,  GIOVANNI  PAOLO,  born  in 
Genoa,  close  of  the  IGth  century.  He  was 
maestro  di  cappella  at  Treviso.  He  i)ub- 
lished  :  Madrigali  a  due,  tre  e  quattro  voci, 
lib.  1  ;  Madrigali  a  cinque  •voci,  lib.  1  e  2. 
— Fetis. 

COSTA,  JOAO  EVANGELISTA  PE- 
REIRA  DA,  born  in  Lisbon  in  1805,  died 
in  Paris  in  1830.  Dramatic  composer  ;  edu- 
cated at  the  ^matriarchal  seminary  of  Lisbon, 
which  he  entered  in  1815.  He  was  con- 
ductor of  the  orchestra  of  the  San  Carlos 
Theatre,  Lisbon,  in  conjunction  with  Mer- 
cadaute,  where  he  brought  out  his  opera, 
Egilda  de  Proven<;a,  and  a  cantata,  Tribute 
a  virtude,  in  1827.  A  quarrel  arose  between 
Mercadante  and  Costa,  on  account  of  criti- 
cisms upon  this  opera  ;  he  left  Lisbon  and 
went  to  Paris,  where  he  became  intimately 
associated  with  Rossini,  whose  influence  is 
visible  in  the  opera,  Egilda  de  Proveni;a, 
1828,  a  superior  work  which  gave  great 
promise.  His  Te  Deum  for  eight  voices, 
written  in  the  same  year,  was  jjroduced  in 
Lisbon,  July  24,  1873. — Fetis,  Suppli'ment, 
i.  204  ;  Vasconcellos,  G7  ;  Mendel,  Ergilnz., 
68. 

COSTA,  Sir  mCHAEL,  born  at  Naples, 
Feb.  4,  1807  (1806  ?),  died  in  London,  April 
28,  1884.     Dramatic  composer,  son  and  pu- 


pil of  Pasquale  Costa,  then  at  the  Conserva- 
torio  di  San  Sebastiauo  pupil  of  Crescentini 
in  singing,  of  Gio- 
vanni Furno  in  har- 
mony, of  Giacomo 
Tritto  (his  grand- 
father) in  counter- 
point, and  of  Zin- 
garelli  in  composi- 
tion. In  1829  he 
went  to  England  to 
assist  at  the  Bir- 
mingham Festival, 
then  visited  London,  and  in  1830  was 
engaged  by  Laporte  as  maestro  al  piano 
at  the  King's  Theatre,  and  in  1833  as  di- 
rector and  conductor.  He  was  naturalized 
in  1839,  became  conductor  of  the  Phil- 
harmonic Society  in  1846,  of  the  new  Italian 
Opera  at  Covent  Garden  in  1847,  and  of  the 
Sacred  Harmonic  Society  in  1848,  in  which 
latter  capacity  he  conducted  the  Handel 
Festivals  from  1857.  Engaged  for  the 
Birmingham  festival  in  1849,  he  continued 
to  conduct  it  until  1882  ;  in  1871  he  was 
appointed  director  of  music,  composer,  and 
conductor  at  Her  Majesty's  Theatre.  His 
fame  rests  chiefly  upon  his  superior  powers 
as  a  conductor.  He  was  knighted  at  Wind- 
sor in  1868,  and  decorated  with  orders 
from  the  sovereigns  of  Wiirtemberg,  Hol- 
land, Turkey,  and  Italy.  "Works — Operas  : 
II  sospetto  funesto,  given  at  the  Teatro 
del  Conservatorio,  Naples,  1826  ;  II  delitto 
punito,  ib.,  1827  ;  II  carcere  d'  Ildegonda, 
Teatro  Nuovo,  1828  ;  Malvina,  Teatro  San 
Carlo,  1829  ;  Malek  Adhel,  Paris,  Theatre 
Italien,  1838  ;  Don  Carlos,  London,  1844. 
Ballets :  Kenilworth,  ib.,  1831  ;  Uue  heure 


a  Naples,  ib.,  1832  ;  Sir  Huon,  ib.,  1833  ; 
Alma,  ib.,  1842.  Oratorios  :  La  Passione, 
Naples,  1827  ;  EIi,  Birmingham  Festival, 
1855  ;  Naamaii.  ib.,  1864.    Cantatas  :  L'  Im- 


3G3 


COSTA 


magine,  Najiles,  1825  ;  The  Dream,  Lon- 
dou,  1858 ;  Hymn,  ib.,  Coveut  Garden, 
1867  ;  do.,  Berlin,  1869  ;  Mass  for  i  voices 
and  orchestra ;  Dixit  Dominus,  for  do.  ; 
Three  symi^houies  for  full  orchestra  ;  Songs 
and  miscellaneous  music.  —  Athenajum 
(1884),  i.  576  ;  FOtis,  Sui^plement,  i.  205  ; 
Grove. 

COSTA,  SEBASTIAO  DA,  boru  at 
Azeitao,  Portugal,  beginning  of  the  17th 
century,  died  in  Lisbon  in  1696.  He  was 
mestre  de  capella  to  the  Kings  Dom  Aftbuso 
VI.  and  Dom  Pedro  II.  ;  musician  of  the 
Koyal  Chapel  of  Dom  Joao  IV.,  and  che- 
valier of  the  Order  of  Christ.  He  left  Por- 
tugal at  the  death  of  this  king,  intending 
never  to  return,  but  was  recalled  from  Spain 
by  the  widowed  queen.  Many  of  his  com- 
positions are  preserved  in  the  Royal  Library 
of  Portugal. — Fetis,  SujJislemeut,  i.  203  ; 
Vasconcellos,  71  ;  Mendel,  Ergiinz.,  68. 

COSTA  E  SYLVA,  FRANCISCO  DA, 
born  in  Portugal  ('?),  died  in  Lisbon,  May 
11,  1727.  He  was  canon  and  mestre  di 
capella  of  the  Cathedral  of  Lisbon.  He 
left  the  following  works  in  MS.  :  Missa  a  4 
vozes  com  todo  o  genero  de  iustrumentos  ; 
Miserere  all  vozes,  com  instrumentos  ;  Mo- 
tetes  para  se  cantarem  as  missas  das  do- 
mingas  da  quaresma  ;  Lameutayao  primeira 
de  quarta  feira  de  Trevas  a  8  ;  O  Testo  de 
Paixilo  de  S.  Marcos  e  S.  Lucas  a  4 ;  Vil- 
hancicos  a  S.  Vincenti,  e  a  Santa  Cecilia 
com  instrumentos  ;  Responsorios  de  officia- 
dos  defuntos  a  8  vozes,  com  todo  o  genero 
de  instrumentos. — Fetis. 

COSTAMAGNA,  ANTONIO,  boru  in 
Milan  in  1816,  died  there,  Feb.  17,  1839. 
Dramatic  composer,  first  studied  in  his 
native  city,  then  went  to  Naples,  where  he 
was  a  i^upil  of  Zingarelli.  "Works :  E  pazza, 
given  at  Piacenza,  1837  ;  Don  Garzia,  Genoa, 
Teatro  Carlo  Felice,  1838.— Fttis  ;  Mendel. 

COSTANTINI,  FABIO,  born  in  Rome 
about  1570.  Maestro  di  cappella  to  the 
confraternity  of  the  Rosary,  Aucona,  and 
afterwards  of  the  Cathedral  of  Orvieto. 
Works:  Motets  for  2,  3  and  4  voices  (1596)  ; 


Motetti,  etc.,  Psalmi,  Magnificat  (Rome, 
1618)  ;  Canzoui  and  Madrigals  (Orvieto, 
1621).  He  published  two  collections  con- 
taining motets,  airs,  and  madrigals  by  Pa- 
lestriua  and  others,  besides  his  own  (1614, 
1621).— -Grove  ;  Fetis  ;  Mendel 

COSTANZI,  GIOVANNI,  called  Gioan- 
uino  di  Roma,  born  in  Rome,  died  there, 
March  5, 1778.  A  violinist  in  the  service  of 
Cardinal  Ottoboui,  nephew  of  Pope  Alex- 
ander VIH.,  he  became  assistant  maestro  di 
cappella  of  S.  Pietro  in  Vaticauo  in  1754, 
and  full  maestro  in  1755,  a  position  which 
he  retained  until  his  death.  Works  :  Carlo 
Magno,  oi^era,  given  in  Rome,  1729  ;  a 
Miserere,  which  was  very  celebrated  ;  mo- 
tets for  16  voices  preserved  in  the  original 
MS.  in  the  Pontifical  Chai^el ;  Offertories 
for  four  voices  ;  Ave  IMaria  for  three  voices  ; 
Salve  Regina  for  four  voices ;  Dixit  for 
eight  voices ;  Te  Deum  and  Magnificat  for 
eight  voices  ;  Pastoral  Mass  for  four  voices  ; 
Laudate  for  four  voices ;  Regina  CVeli  for 
four  voices  ;  Salve  Regina  for  soprano  and 
chorus. — Fetis  ;  Mendel. 

COSTE,  JULES,  born  in  Lorraine  about 
1828,  died  Nov.  13,  1883.  Amateur  dra- 
matic comjioser.  His  operettas,  which 
Pougiu  says  are  of  little  consequence,  have 
been  played  in  jjrivate  and  in  some  of  the 
Parisian  theatres,  in  the  following  order : 
Jacqueline,  opc'ra-comique  (with  the  comte 
d"Osmond),TheatreItalien,  1855  ;  TJne  pleine 
eau,  operetta,  Boufifes  Parisieus,  1855  ;  La 
quenouille  de  la  reine  Bertlie,  Perijignan, 
1858  ;  Les  horreurs  de  la  guerre,  operetta, 
Atheuee,  1868  ;  La  paix  armee,  oj^eretta, 
1 1868  ;  Au  harem,  ballet,  1873  ;  Cent  mille 
francs  et  ma  fiUe,  operetta.  Menus  Plaisirs, 
1874  ;  Le  dada,  1875  ;  Les  charbonuiers, 
1877.— Fetis,  Supplement,  i.  206. 

COSTELEY,  A\TLLIAM,  born  in  Scot- 
laud  in  1531,  died  at  Evreux,  Normamly, 
Feb.  1,  1606.  Organist  to  Henri  IL  and 
Charles  IX.  He  was  one  of  the  founders 
of  the  society  called  Puy  de  musique  en  hon- 
neur  de  Sainte-Cecile,  at  Evreux,  and  its 
first  prince  (1571).     Some  of   his   compo- 


304 


COSYN 


sitions  are  iu  the  library  at  Orli'ans.  His 
cLausous  a  i  et  5  parties  were  published  by 
Le  Roy  et  Ballard  (1507),  wlio  also  pub- 
lished his  treatise  entitled  Musique  (Paris, 
1579). — Grove  ;  Fctis  ;  Mendel. 

COSYN,  BENJA:\UN,  lived  iu  England 
iu  the  first  half  of  the  17th  century.  Com- 
poser for  the  harpsichord.  Many  of  his 
pieces  are  extant.  He  was  probably  the 
son  of  John  Cosyu,  who  published  in  Lon- 
don, 1585,  sixty  psalms  for  four  and  six 
voices,  in  simple  counterjwint. — Mendel. 

COTTELL,  GEORGE  LANSDOWNE, 
born  at  Bath,  England,  Sept.  22,  1835,  still 
living,  1888.  Pianist,  pupil  at  the  Royal 
Academy  of  Music  ;  founder  and  director  of 
the  London  Conservatory  of  Music.  His 
compositions  for  pianoforte  and  his  songs 
are  brilliant  and  tasteful.  Ho  has  also 
written  an  opera  :  The  Archers. 

COTTER'S  SATURDAY  NIGHT,  can- 
tata, by  Alexander  Campbell  Mackenzie, 
composed  for  the  Birmingham  (England) 
Festival,  1888,  but  not  performed. 

COTTI-CACCIA,  ,  Italian  dramatic 

composer,  who  wrote  the  words  and  music 
of  an  opera  buffa  :  II  vino  di  Barbara,  given 
at  Pignerol  in  May,  18GG.  He  produced 
also  an  operetta,  Don  Finocchio,  at  Genoa 
in  1873.— Fetis,  Supplement,  i.  206. 

COTTIN,  ,  French  dramatic  com- 
poser who  wrote  two  operettas :  Uu  duo  de 
serpents,  given  at  the  Bouffes  Parisiens,  i 
185G,  and  La  revanche  de  Vulcain,  Folies 
Nouvelles,  1856.  The  latter  piece  was  the 
first  in  a  new  style  of  French  opera,  which 
Offenbach  afterwards  copied  and  excelled 
in,  a  musical  parody  on  mythological  sub- 
jects.—F  ('tis.  Supplement,  i.  206. 

COTTRAU,  GUILLAUME,  born  in  Paris 
in  1797,  died  at  Naples,  Oct.  31,  18-17. 
Vocal  composer,  pupil  of  Crescentiui  at 
Naples,  whither  he  had  been  taken  when 
foiu-  years  of  age.  He  made  his  reputation 
liy  the  publication  of  Neapolitan  cauzoui, 
wiiich  became  very  popular.  He  wrote 
both  the  music  and  the  words,  which  were 
in  the  Neapolitan  dialect.     From  1829  to 


1845  he  published,  under  the  title  of  Passa- 
tempi  musicali,  six  collections  of  canzoni, 
among  the  best  known  of  which  are  :  Fe- 
nesta  che  lucivi ;  Raziella  ;  La  vedova  ro- 
mana;  Fenesta  vascia  e  patrona  crudele. 
A  great  many  other  canzoni  are  in  a  col- 
lection bearing  the  title :  Eco  del  Vesuvio, 
scelta  di  celebri  canzoni  napolitaue  (Naples). 
Some  are  to  be  found  in  the  second  volume 
of  Echos  d'ltalie,  published  in  Paris.— Fetis, 
SuppU'ment,  i.  206 ;  Mendel,  Ergiinz.,  68. 

COTTRAU,  JULES,  born  in  Naples  in 
1836,  still  living,  1888.  Son  of  Guillaume 
Cottrau,  pupil  of  Luigi  Gordigiani  in  har- 
mony and  composition,  and  of  Samuel 
David,  in  Paris.  He  has  published  about 
thirty  pieces,  melodies,  canzoni,  duets,  etc., 
at  Naples  and  Paris,  on  Italian  words. 
One  of  these,  La  serenata  spagnuola,  was 
very  popular.  He  has  written  also  some 
operas:  Une  sentinelle  perdue,  opi'ra-co- 
mique ;  Griselda,  Italian  opera,  words  by 
Goliseiani;  Le  roi  Lear;  La  princesse 
Georges ;  La  mouche  blanche ;  none  of 
which  have  been  played.— Futis,  Supple- 
ment, i.  207. 

COTTRAU,  THEODORE,  born  in  Naples, 
Nov.  7,  1827,  died  there,  March,  1879.     Son 
of  Guillaume  Cottrau  ;  studied  the  piano- 
forte under  his  mother  and  under  Filippo 
Festa,  and  composition  under  Pappalardo. 
Like  his  father,  he  was  distinguished  for 
his  Neapolitan  canzoni,  among  which  are  : 
'  lo  ti  vidi  a  Piedigrotta  ;   La   Sorrentina ; 
Rissa  in  piazza  serra ;  Addio  mia  bella  Na- 
poli.     Some  are  published  in  a  collection 
entitled,  Eco   del  Vesuvio.      Some  of  the 
least  remarkable  were  published  by  the  au- 
thor under  the  name,  Eutalindo  Martelli. 
He  was  at  the  head  of  a  nuisical  publish- 
ing house,  and  to  him  is  due   the  Italian 
translation  of  Herold's  chef-d'oeuvre,  Le  pre 
aux  clercs,  which  was  brought  out  in  Italy 
as,   Un  duello    al  pre  aux   clercs  (Naples, 
1872).— Fctis,  Supplement,  i.  206 ;  Mendel, 
ErgUnz.,  69. 

COTU^ilACCI,  CARLO,  born  at  Naples 
I  in    1698,    died   there  in    1775.      Organist, 


S65 


COUCY 


pupil  of  Alessandro  Scarlatti ;  succeeded  his 
fellow  pupil  Durante  as  maestro  di  cappella 
of  the  Conservatorio  di  San  Ouofrio.  His 
most  important  works  are  :  Eesponsori  for 
Holy  Week ;  Requiem  mass  for  five  and 
eight  voices  ;  Te  Deum  for  two  choruses ; 
Hymn  for  Pentecost.  He  wrote  also : 
Eegole  deir  accomjiagnamento,  and  Trat- 
tato  di  contraj)punto,  which  remain  in 
manuscript.— Fetis  ;  Mendel. 

COUCY,  REGN.\ULT  (or  Raoul)  DE,  a 
troubadour  living  towards  the  close  of  the 
12tli  ceutm-y.  From  a  chronicle  of  1380  it 
appears  that  he  went  to  the  crusades  in  1190, 
with  Richard  Cceur  de  Lion,  and  was  killed 
in  1192.  There  has  been  a  deal  of  contro- 
versy among  the  French  authors,  Fauchet, 
Mezeray,  Laborde,  Fraucisque  Michel,  and 
Crapeletpover  the  life  and  the  true  name  of 
this  minstrel.  Fetis  thinks  that  Francisque 
Michel  has  jiroved  that  he  is  no  other  than 
the  Regnault  de  Coucy  whose  romantic 
history  has  furnished  the  subject  of  several 
dramas,  and  which  is  told  in  a  poem  of 
about  1228,  entitled,  "  Le  Eoumans  dou 
Chastelain  de  Coucy  et  de  la  dame  de 
Fayel."  He  is  one  of  the  oldest  trouba- 
dours whose  works  have  been  handed 
down.  The  Bibliotheque  Nationale,  Paris, 
has  twenty-four  of  his  chansons  with  their 
melodies  in  the  manuscript  department. 
Laborde  has  published  four  of  his  melo- 
dies in  his  "  Essai  sur  la  Musique  "  (Paris, 
1780),  and  several  others  in  a  new  edition  of 
a  work  entitled,  "Memoires  historiques  sur 
Raoul  de  Coucy,  avec  un  rccueil  de  sea 
chansons  eu  vieus  langage,  et  la  traduc- 
tion de  I'ancienne  musique  "  (Paris,  1781). 
Francisque  Michel  has  published,  Chansons 
du  Chatelain  de  Coucy,  revues  sur  tous  les 
manusci-its  (Paris,  1830-33).  Besides  these 
there  are  "  Memoires  historiques  sur  la 
maison  de  Coucy  et  sur  la  Dame  de  Fayel, 
par  de  Bellay "  (Paris,  1770) ;  and  "  His- 
toire  du  Chutelain  de  Coucy  et  la  dame  de 
Fayel,  publiee  d'apres  le  manuscrit  de  la 
BibliothOque  du  roi,"  par  M.  Crapelet  (Pa- 
ris, 1828).— Fctis;  Mendel;  Riemann. 


COUNTRY  WEDDING.  See  Landliche 
Hochzeit. 

COUPE,  H ,  born  at  Bottelaere,  near 

Ghent,  June  7, 1827,  still  living,  1888.  The 
son  of  a  professional  musician,  he  became  a 
pupil  at  the  Conservatoire  at  Ghent,  and 
won  in  1855  the  first  prizes  for  singing  and 
harmony.  He  became  assistant  maitre  de 
chapelle  of  the  Church  of  St.  Bavon,  Ghent, 
and  subsequently  maitre  de  chapelle  of  the 
Church  of  St.  Michel.  He  published  j)iano- 
forte  music  first  under  the  signature  of  C. 
Henri.  Works :  Mass  for  three  voices,  a 
set  of  Seven  Cantiques  de  Noiil,  and  a  num- 
ber of  motets  for  several  voices. — Fetis, 
Supplement,  i.  208. 

COUPE  DU  ROI  DE  THUL^,  LA  (The 
King  of  Thule's  Cup),  opera  in  three  acta 
and  four  tableaux,  text  by  Louis  Gallet  and 
Edouard  Blau,  music  by  Eugene  Diaz,  rep- 
resented at  the  Opera,  Paris,  Jan.  10,  1873. 
This  work  was  crowned  at  the  competition 
opened  by  the  ministre  des  beaux-arts  in 
1867.  The  title  is  from  the  song  sung  by 
Margarete  in  Goethe's  "Faust."  The  cuj}, 
which  is  enchanted  and  gives  power  to 
whomsoever  possesses  it,  is  left,  on  his 
death,  by  the  King  of  Thule  to  Paddock, 
his  buffoon,  with  the  injunction  to  give  it 
to  the  worthiest.  Paddock  casts  it  into 
the  sea.  Myrrha,  in  love  with  Angus,  the 
prime  mmister,  and  hoping  to  reign  with 
him  when  the  cup  is  obtained,  jjersuades 
Yorick,  a  young  fisherman  who  loves  her, 
to  go  after  it.  He  preciiiitates  himself  into 
the  sea,  where,  with  the  aid  of  Claribel, 
queen  of  the  waves,  who  conceives  a  tender 
sentiment  for  him,  he  obtains  the  cuj)  and 
is  permitted  to  return  to  earth,  promising 
however  to  rejoin  Claribel  if  he  finds  Myr- 
rha untrue.  Myrrha  gives  the  cup  to  An- 
gus, and  the  two  are  about  to  be  made  the 
sovereigns,  when  Yorick,  invoking  the  aid 
of  Claribel,  triumphs. 

COUPERIN,  ARMAND  LOL^S,  born  in 
Paris,  Jan.  11,  1721,  died  in  1789.  Son  of 
Nicolas  Couperin,  nephew  to  Couperin  le 
Grand.     Organist  successively  to  the  King, 


COUPERI^' 


to  the  cburcbes  of  St.  Gervais,  St.  Bartlii'- 
lemj',  Ste.  Marguerite,  and  one  of  the  four 
organists  of  Notre  Dame.  He  wrote  churcli 
music  and  motets,  and  published  two  col- 
lections of  sonatas  and  of  trios  for  the  haiij- 
.sichord. — Fotis;  Mendel,  iii.  7,  Ergiinz., 
(ji)  ;  Riemann. 

COUPERIN,  CHAREES,  born  atCbaume 
(Brie),  France,  April  9,  1G38,  died  in  Paris 
in  ICGIl  One  of  a  family  of  three  broth- 
ers, all  organists  and  musicians,  and  father 
of  Coujjerin  le  Grand.  He  went  to  Paris 
while  young,  and  took  his  eldest  brother 
Louis'  place,  at  the  Church  of  Saint-Ger- 
vais,  as  organist ;  was  talented  and  died 
young. — Fetis  ;  Mendel ;  Schilling. 

COUPERm,  FRANgOIS,  sieur  de  Crouil- 
ly,  born  at  Chaume,  in  1631,  died  in  Paris  in 
1703.  Brother  of  Louis  and  Charles  Coupe- 
rin ;  Organist,  pupil  of  his  godfather, 
Chambonnieres.  He  was  organist  of  the 
Church  of  Saiut-Gervais  from  1679  to  1698. 
Published  works :  Pieces  d'orgue  consis- 
tantes  en  deux  messes,  I'une  a  I'usage  or- 
dinaire des  paroisses  j)our  les  festes  solen- 
nelles  ;  I'autre  propre  pour  les  couvents  de 
religieux  et  de  religieuses  ;  par  le  priviK^ge 
du  roi  (1690).— Fetis  ;  Mendel. 

COUPERIN,  FRANCOIS  (suruamed  Le 
Grand),  born  in  Paris, 
Nov.  10,  1668,  died 
there,  1733.  His  fa- 
ther, Charles  Coupe- 
rin,  having  died  in 
1669,  he  studied  un- 
der Louis  Jacques 
Thomelin,  organist  of 
the  chapel  of  Louis 
XIV.  On  Dec.  26, 
1693,  he  succeeded  to  his  late  teacher's  post, 
his  official  titles  being  "chevalier  de  I'ordre 
de  Latran,  organiste  de  la  chapelle  du  Roy, 
et  professeur  de  Monseigneur  le  due  de 
Bourgogne."  He  married  Marie  Aune  Au- 
sault,  and  had  two  daughters,  Marie  Anne 
and  Marguerite  Antoinette.  Both  were  good 
organists  and  clavecinists,  the  second  being 
the  female  claveciuist  to  the  King.     FOtis 


says  of  Coujierin  that  ho  combined  more 
fine  qualities  than  any  other  French  organ- 
ist. Yet  his  reputation  now  rests  mainly 
uj)on  his  works  for  the  clavecin  ;  indeed  he 
is  one  of  the  principal  figures  in  the  history 
of  pianoforte  and  clavecin  writing.  His  in- 
fluence upon  Sebastian  Bach  is  unmistak- 
able. Published  works  :  1,  Premier  livre 
de  pieces  de  clavecin  (Paris,  1713)  ;  2, 
Deuxiume  livre  id.  (ib.,  1716) ;  3,  Troisieme 
livre  id.,  a  la  suite  duquel  il  y  a  quatre  con- 
certs a  I'usage  de  toutes  sortes  d'instru- 
ments  (ib.,  1719) ;  4,  Quatrieme  livre  id.  (ib., 
no  date)  ;  5,  Les  gouts  ri'unis,  ou  nouveaux 
concerts,  augmentes  de  I'apotlu'ose  de 
Corelli  en  trio  (ib.,  1717)  ;  6,  L'Apoth('ose 

de   I'incomparable  L (Lulli),   (ib.,  no 

date) ;  7,  Trios  for  two  violins  and  bass, 
with  figured  continue  (ib.,  no  date) ;  8,  Le- 
mons des  tenubres  a  une  et  deux  voix  (ib., 
no  date)  ;  9,  Methode,  ou  I'art  de  toucher 
le  clavecin,  y  compris  huit  preludes  (ib.)  ; 
10,  Pieces  de  viole  (ib.).  A  revised  edi- 
tion of  the  clavecin  suites  is  edited  by 
Brahms. — Spitta,  J.  S.  Bach,  i.  695  ;  Fetis ; 
Mendel. 

COUPERIN,  GERVAIS  FRANCOIS, 
born  about  (?),  died  after  1815.  Organist, 
son  and  pupil  of  Armand  Louis  Couperin. 
Though  not  the  equal  of  the  rest  of  his  il- 
lustrious family,  his  name  procured  him  the 
position  of  organist  to  the  Sainte  Chapelle, 
to  the  churches  of  Saint-Gervais,  of  Saint- 
Jean,  of  Sainte-Marguerite,  Les  Carmes- 
Billettes,  and  Saint-Mery.  Works :  So- 
natas, airs  varies,  caprices,  potjiourris,  and 
romances  (Paris)  ;  several  motets  in  MS. 
— Fetis  ;  Riemann,  182  ;  Mendel. 

COLTERIN  LE  GRAND.  See  Couix- 
rin,  Francois  (2d). 

COUPERIN,  LOUIS,  born  at  Chaume  in 
1630,  died  in  Paris  in  1665.  Organist,  one 
of  three  celebrated  brothers  of  a  family  of 
musicians ;  uncle  to  Couperin  le  Grand. 
He  went  to  Paris  while  young,  and  was  or- 
ganist to  the  church  of  Saint-Gervais  and 
of  the  King's  Chapel.  Louis  XIII.  created 
a  place  for  him  as  player  on  the  viol  among 


367 


COUPERIK 


liis  chamber  musicians.  "Works :  Three 
Suites  de  pieces  de  clavecin  in  JLS. — Futis  ; 
Larousse  ;  Mendel. 

COUPERIN,  NICOLAS,  born  in  Paris, 
about  IGSO,  died  there,  in  1748.  Organist, 
son  of  Frangois  Couperin.  He  was  organ- 
ist of  Saint-Gervais  for  many  years,  and 
musician  to  the  Comte  de  Toulouse.  Fetis  ; 
Larousse  ;  Mendel. 

COUPERIN,  PIERRE  LOUIS,  bom  (?), 
died  in  1789.  Organist,  son  of  Louis  Ai-- 
mand  Couperin,  and  grandson  of  Nicolas 
Couperin.  Ue  received  all  his  instruction 
from  his  mother  and  father ;  was  assistant 
organist  to  his  father  at  Notre  Dame,  St. 
Gervais,  St.  Jean,  the  Royal  Chapel,  and 
Les  Carmes-Billettes.  "Works :  Motets  used 
iu  many  of  the  French  churches  ;  La  Ro- 
mance de  Nina,  with  variations  for  piano- 
forte.— Fetis  ;  Larousse  ;  Mendel. 

COUPPEY,  FELIX  LE,  born  in  Paris, 
April  14, 1814,  died  there,  July,  1887.  Pian- 
ist and  composer  for  his  instrument,  pupil  at 
the  Conservatoire,  where  he  took  the  first ' 
prize  for  pianoforte  in  1827,  and  for  har- 
mony in  1828  ;  when  only  seventeen,  he 
was  entrusted  by  Cherubini  with  a  jDrejiara- 
tory  class  in  harmony,  iu  1837  was  aja- 
pointed  titulary  f)rofessor  of  solft'ge,  and  in 
1843,  professor  of  harmony.  He  retired 
from  the  Conservatoire  in  1886.  "U'orks : 
12  etudes  expressives  (Leipsic,  Breitkopf  & 
Hilrtel) ;  3  other  collections  of  etudes.  He 
also  jjublished  two  instructive  works  :  Ecole 
du  meeanisme  du  piano,  and  De  I'enseigne- 
ment  du  piano  (Paris,  Hachette,  1865). 
— F(_'tis  ;  do.,  Supplement,  i.  210. 

COURBOIS, ,  French  musician  who 

became  known  in  1728  by  a  motet :  Omnes 
gentes  plaudite  manibus,  with  trumpets  and 
drums,  played  at  the  Concerts  Si^irituels. 
He  published  also  a  book  of  cantatas  and 
cantatilles  ;  the  Cantata  of  Don  Quichotte, 
and  a  book  of  Airs  a  chanter. — Fetis  ;  Men- 
del. 

COURCELLE,  FRANCESCO,  Italian  dra- 
matic composer  of  the  first  half  of  the  18th 
century,  maestro  di  cappella  at  the  court  of 


Parma.  "U'orks  :  Nino,  given  at  Reggio, 
1720,  and  Venice,  1732  ;  La  Venere  placata, 
Venice,  Teatro  di  San  Samuele,  1731. 

COUR  DU  ROI  PETAUD,  LA,  opera- 
bouffe  in  three  acts,  text  bj'  Adolphe  Jaime 
and  Philippe  Gille,  music  by  Delibes,  rep- 
resented at  the  Theatre  des  Varietes,  Paris, 
April  24,  18G9. 

COURTEMLLE,  RAPHAEL,  the 
younger,  born  in  the  second  half  of  the 
17th  century,  died  about  1735.  Composer, 
son  of  Raphael,  the  elder,  who  was  a  gentle- 
man of  the  Chapel  Royal  in  the  reign  of 
Charles  I,  and  died  Dec.  28,  1675.  The 
son  was  appointed  organist  of  St.  James's 
Church,  Piccadilly,  in  1C91.  Works :  6  so- 
natas for  two  violins  ;  Sonatas  for  two  flutes 
(about  1685)  ;  Many  songs,  published  in 
various  collections  in  the  latter  part  of 
the  17th  century.  He  wrote  also  part  of 
the  opera  Don  Quixote  (with  Purcell,  and 
others,  1696).  John  CourteviUe,  probably 
his  brother,  was  a  song  writer. — Grove. 

COURTOIS,  JEAN,  French  composer  of 
the  first  half  of  the  16th  century.  Ho  Mas 
maitre  de  chapelle  at  the  cathedral  in 
Cambrai  in  1540,  and  a  4-voice  motet  of 
his,  Venite  populi  terr;e,  was  performed  by 
34  singers  at  the  cathedral  on  Jan.  20th  of 
that  year  (not  1539,  as  Fetis  has  it),  in  the 
presence  of  Charles  V.,  as  he  passed  through 
Cambrai  on  his  way  to  Ghent.  Courtois, 
if  not  one  of  the  greatest,  was  still  markedly 
above  the  composers  of  the  second  rank  in 
France  iu  his  day.  He  was  a  clever  contra- 
puntist, not  without  very  genuine  inspira- 
tion, but  an  extreme  classicist,  and  often 
rather  servile  imitator  of  Josquin  Depres's 
school.  Eight  of  his  masses  are  in  the 
Royal  Library  at  IMunieh,  and  one  in  the 
library  at  Cambrai.  Motets  and  other 
compositions  of  his  are  included  iu  the 
following  collections  :  Fior  de'  Motetti  (Ve- 
nice, 1539)  ;  Selectissimre  ....  Can- 
tiones  (Augsburg,  1540)  ;  Novum  et  insigne 
opus  musicum  (Nuremberg,  1537)  ;  Liber 
Quartus,  XXIX.,  musicales  quatuor,  etc. 
(Paris,   1534)  ;  Psalmorum  selectorum,  etc. 


368 


COUSINEAU 


(Nuremberg,  153!))  ;  Cautiones  sacnc  (Ant- 
werp, 15-16)  ;  Three  voliuiies  of  motets 
(Lyons,  153'2-15;^8)  ;  Chansons  a  4,  5,  6  et 
8  j)arties  de  clivers  auteurs  (Antwerp,  1543- 
1550) ;  Trente  chansons  ....  a  4 
parties  (Paris)  ;  Trent  cinq  livres  de  Chan- 
sous  uouvelles  (Paris,  1532-1549)  ;  Chan- 
sons a  cinq  et  six  jiarties  (Louvain,  1545). 
— Ambros,  iii.  291. 

COUSINEAU,  PIERRE  JOSEPH,  bom 
in  Paris,  about  1753,  died  in  1824.  Lu- 
tist  and  harpist.  He  was  the  first  to  con- 
struct a  double  row  of  pedals  for  the  harp, 
an  improvement  perfected  later  by  Dizi  in 
London,  and  Erard  in  Paris  ;  but  it  was  not 
ajusreeiated  at  the  time,  as  harp  music  did 
not  then  require  any  great  amount  of  exe- 
cution. He  was  appointed  lutist  to  the 
Queen  in  1788  ;  and  he  was  harpist  of  the 
Academie  Royale  de  Musique,  until  1812. 
Published  works  :  Sept  ceuvres  de  Sonates 
pour  la  harpe,  op.  1,  2,  5,  7,  10,  13  et  16  ; 
Cinq  recueils  d'airs  varies  ;  Deux  concertos, 
op.  6  et  12  ;  Deux  potpourris  ;  and  a  Me- 
thode  pour  la  harjie. — Fetis  ;  Mendel  ; 
Schilling. 

COUSSER  (Kusser),  JOHANN  SIGIS- 
JIUND,  born  at  Pressburg,  Hungary,  in 
1657,  died  in  Dublin,  L-eland,  in  1727. 
Dramatic  comjjoser,  son  and  pupil  of  a 
musicitm  of  Pressburg,  and  pupil  of  Lulli 
in  Paris,  for  six  years.  On  his  return  to 
Germany  he  was  Kaijellmeister  at  Wolfen- 
biittel  and  at  Stuttgart,  lived  in  1693-97  at 
Hamburg,  where  he  was  director  of  the  Op- 
era, and  made  two  journeys  to  Italy  between 
1700  and  1705.  He  is  said  to  have  been 
the  first  to  introduce  the  Italian  method  of 
singing  into  Germany.  He  settled  finally 
in  London  as  a  teacher  of  singing,  but  went 
in  1710  to  Ireland  and  became  organist  in 
Dublin  Cathedral.  His  published  works 
comprise  the  operas  Erindo,  given  at  Ham- 
burg, 1693  ;  Porus,  Pyramusand  Thisbe,  ib., 
1694  ;  Scipio  Africanus,  ib.,  1695  ;  Jason, 
ib.,  1697  ;  Apollon  enjoue,  sis  operatic  over- 
tures, and  several  airs  (Nuremberg,  1700)  ; 
Heliconische  Musenlust,  a  collection  of  airs 


from  Ai-iadne  (ib.,  1700) ;  Ode  on  the  death 
of  Ai'abella  Hunt  (Loudon) ;  Serenade  for  the 
King's  birthday  (Dublin,  1724). — Grove  ; 
Fetis  ;  Mendel. 

COUTINHO,  FRANCISCO  JOSfi,  born 
in  Lisbon,  Oct.  21,  1671,  died  in  Paris,  in 
1724.  Amateur  musician,  left  the  following 
works  in  MS. :  Te  Deum,  for  eight  choruses 
(1722)  ;  Mass  for  four  choruses,  with  an 
accompaniment  of  violins,  horns,  and  drums 
entitled,  Scala  Ai-etina. — Fetis  ;  Mendel  ; 
Vasconcellos,  73. 

COWARD,  JAMES,  born  in  London, 
Jan.  25,  1824,  died  there,  Jan.  22,  1880. 
Chorister  in  Westminster  Abbey.  Organist 
of  the  Crystal  Palace  in  1857-80.  He  was 
a  jjerformer  of  great  ability.  Works  :  An- 
thems ;  Part-songs  ;  Ten  glees  for  four  and 
five  voices  (London,  1857)  ;  Ten  glees,  etc., 
(ib.,  1871)  ;  Songs,  and  misceUaueous  mu- 
sic. 

COWEN,  FREDERIC  HY^MEN,  born  at 
Kingston,  Jamaica, 
Jan.  29,  1852,  still 
living,  1888.  Dra- 
matic composer, 
pupil  of  Benedict 
and  (1860-65)  of 
Goss,  then  at  the 
Conservatories  of 
Leif)sic  and  Berlin 
of  Hauptmann, 
Moscheles,  and 
Reinecke ;  returned 
to  England  in  1868.  Gave  a  series  of  orches- 
tral concerts,  introducing  modern  English 
music  in  1880  ;  travelled  in  Europie,  1881- 
82.  Conductor  of  the  London  Philhar- 
monic Society,  but  resigned  to  accept  the 
direction  of  the  music  at  the  Centennial 
Exhibition,  Melbourne,  Australia  (Aug.  1, 
1888,  to  Feb.  1,  1889),  for  which  he  receives 
a  salary  of  £5,000.  Works :  Garibaldi,  op- 
eretta ;  One  too  manj-,  1874  ;  Pauline,  op- 
era, London,  1876 ;  Music  to  Schiller's 
Maid  of  Orleans,  1871.  Cantatas:  The 
Rose  Maiden,  1870  ;  The  CoTsair,  Birming- 
ham Festival,  1876  :  Saint  Ursula,  Norwich 


cox 


Festival,  1881 ;  The  Sleeping  Beauty,  Bii- 
miugbam,  1885  ;  Rath,  oratorio,  Worcester 
Festival,  1887  ;  The  Deluge,  oratorio,  Brigh- 
ton Festival,  1878  ;  4  sj-mphonies,  in  C 
minor  (1869),  iu  F  (1872),  iu  C  minor, 
Scandinavian  (1880),  and  Weigh  (1884) ; 
Overture  in  D  minor  (186G) ;  Festival  Over- 
ture, Norvv'ich,  1872  ;  Concerto  for  piano- 
forte and  orchestra  iu  A  minor  (1869) ; 
Suite  de  Ballet  for  orchestra ;  Sinfonietta 
in  A  for  do.,  Philharmonic  Society,  1881  ; 
Trio  in  A  minor  for  pianoforte  and  strings 
(1868)  ;  Quartet  iu  C  minor  for  do.  (1869) ; 
Pianoforte  pieces  and  songs. 

COX  AND  BOX,  English  operetta,  text 
by  F.  C.  Buruand  after  Madison  Morton's 
farce,  music  by  Arthur  Sullivan,  rejjresented 
iu  London,  Adelishi  Theatre,  May  11,1867. 

COZZI,  CAELO,  born  at  Parabiago,  near 
Milan,  Italj%  first  half  of  the  17tli  century, 
died  in  1658  or  1659.  Originally  a  barber, 
he  devoted  himself  to  the  study  of  music 
and  became  organist  of  S.  Simpliciano, 
Milan.  On  the  visit  to  that  city  of  Queen 
Maria  Anna  of  Spain,  he  presented  her  with 
a  collection  of  his  church  music,  and  she 
created  him  organist  of  her  court.  Pub- 
lished works  :  Messa  et  salmi  correnti  per 
tutto  r  anno  a  8  voci  jjiene  (1651)  ;  Con 
motetti  e  litanie  della  B.  V.  e  con  due 
motetti  di  Michel-Angelo  Grancini  ;  Com- 
pieta  a  quattro  voci  (Milan,  1649). — Fctis  ; 
Mendel. 

COZZOLANI,  CfflAEA  MARGARITA, 
lived  in  the  17th  century.  She  was  a  nun 
of  the  convent  of  Sta.  Radegouda,  of  the 
order  of  S.  Benedetto,  at  Milan,  who  took 
the  veil  in  1620.  This  is  all  that  is  known 
of  her,  but  her  compositions  prove  that  she 
was  a  clever  musician.  Published  works : 
Primavera  di  fiori  musicali  a  1,  2,  3  e  4  voci 
(Milan,  1640)  ;  Motetti  a  1,  2,  3  e  4  voci 
(1642) ;  Scherzi  di  sacra  melodia  (Venice, 
1648) ;  Salmi  a  otto  voci  coucertate,  Laudate 
pueri  a  4,  e  Laudate  Dominum  a  voce  sola, 
op.  3  ;  Salmi  a  otto  voci  concertate,  con  mo- 
tetti, e  dialoghi  a  2,  3,  4  e  5  voci  (Venice, 
1650).— Fetis ;  Mendel. 


CRAEI.rV'ANGER,  K.  A.,  born  at  Utrecht 
in  1817,  died  there,  July  30,  1868.  Virtu- 
oso on  the  violin  and  guitar.  He  appeared 
with  great  success  as  a  singer  in  the  cities 
of  Holland,  was  director  of  three  musical 
societies,  and  conducted  the  music  festival 
at  Cleves,  1852,  and  Utrecht,  1853.  Among 
his  compositions  are  :  Quartet  for  string  in- 
struments ;  Fantaisies  for  guitar  ;  Motets  ; 
Choruses  for  male  voices  ;  Songs. — Fetis, 
Supplement,  i.  213  ;  Viotta. 

CRAMENT,  JOHN  M.\UDE,  born  at 
Boltou  Percy,  Yorkshire,  in  1845,  stQl  liv- 
ing, 1888.  Church  composer  and  organist, 
jjupil  of  Macfarren,  and  in  Berlin  of  Haupt 
and  Kiel.  Organist  of  Broni^^tou  parish 
church,  London  ;  Mus.  Bac,  Oxford,  1879. 
Works  :  Festival  Psalm  for  solo  voices,  cho- 
rus, and  orchestra ;  Anthems. 

CRAMMER,  FRANZ,  born  in  Munich  in 
1786,  died  (?).  Instrumental  and  vocal 
composer,  nephew  of  Wilhelm  Cramer,  jm- 
pil  of  Eberle  on  the  pianoforte,  of  Gerhard 
Dimler  on  the  flute,  and  of  Josef  Griitz  iu 
composition  ;  in  1795  he  became  first  flutist 
in  the  court  orchestra.  He  wrote  several 
concertos  for  different  instruments,  varia- 
tions, rondos,  several  collections  of  songs, 
an  opera,  Hidallan,  and  a  ballet,  which  was 
performed  in  Munich. — Fetis  ;  Mendel. 

CRAZIER,  JOHANN  BAPTIST,  born  at 
Mannheim,  Feb.  24,  1771,  died  in  London, 
Ai^ril  16,  1858.  His  father,  Wilhelm  Cra- 
mer, who  settled  iu  London  wheu  Johann 
was  a  year  old,  gave  him  bis  fi.rst  instruc- 
tion on  the  violin,  pianoforte,  and  iu  theory. 
Johann  studied  also  uuder  Benser,  SehrJiter, 
and  from  1779  to  1781  under  Clementi.  In 
1785  he  took  a  course  of  thorough  bass 
under  C.  F.  Abel,  but  his  knowledge  of 
theory  and  composition  resulted  almost 
wholly  from  self-dii-ected  studies  in  the 
works  of  Kirnberger  and  Marpurg.  From 
1788  to  1828  he  made  frequent  concert 
tours  through  Europe,  returning  at  inter- 
vals to  London.  In  1828  he  founded  the 
music  publishing  house  of  J.  B.  Cramer  & 
Co.     Some  time  afterwards  he  spent  several 


370 


CRAMER 


years  in  Paris,  returning  to  London  finally 
in  1845.  The  remainder  of  Lis  life  was 
passed  in  retirement.  Cramer's  rei)utation 
as  pianist  and  teacher  was  deservedlj'  of 
tlie  Yery  highest. 
His  compositions 
are  marked  Ly 
great  stoutness 
of  construction 
and  interesting 
harmony,  albeit 
by  a  certain  dry- 
ness. His  one  '"■ 
undying  work  is 
his  Si  studies, 
which  form  the  fifth  part  of  his  Gi-osse 
piaktische  Pianoforte-Schule.  An  admira- 
ble, instructive  edition  of  fifty  of  these 
studies  has  been  edited  by  von  Biilow. 
Together  with  parts  of  dementi's  Gradus 
and  Moscheles's  studies,  they  will  proba- 
bly never  be  sujjerscded.  In  the  historj- 
of  the  develojiment  of  pianoforte-playing 
Cramer's  i^lace  is  intermediate  between 
Clenieuti  and  Hummel.  Works :  7  con- 
certos for  pianoforte  and  orchestra,  op.  10, 
16,  26,  37,  48,  51,  56  ;  Sonatas,  op.  1-9, 
11-15,  18-23,  25,  27,  29,  31,  33,  35,  36,  38, 
39,  41-44,  46,  47,  49,  53,  57-59,  62,  63  ; 
Marches  and  waltzes,  op.  17  ;  Duet,  op.  24; 
do.,  op.  34  ;  do.,  op.  50  ;  Quartet  for  piano- 
forte and  strings,  op.  28  ;  Suite  of  Studies, 
op.  30 ;  Nocturne,  op.  32  ;  do.,  op.  54  ; 
Studies,  op.  40  ;  Duet  for  pianoforte  and 
harp,  op.  45  ;  do.,  52  ;  Dulce  et  utile,  op. 
55  ;  Bravaira,  op.  60  ;  Quintet  for  pianoforte 
and  strings,  op.  61 ;  Method  for  the  piano- 
forte in  5  parts. — Grove  ;  Fctis  ;  Mendel. 

CRAMER,  KASPAR,  co-rector  of  the 
school  of  Salzburg,  in  the  first  half  of  the 
17th  century.  He  published  sixty-nine 
chorals  for  four  voices  with  the  singular 
title  :  Animse  sauciatre;  medela,  etc.  (Erfurt, 
1641).  Part  of  these  chorals  are  his  own, 
the  others  are  by  various  other  German 
composers. — Fetis  ;  Mendel. 

CRAMER,  WILHELIM,  born  in  INIaun- 
lieim    in    1745,    died    in   Loudon,    Oct.    5, 


i  1799  (1800?).  Violinist,  .sou  of  Jacob  Cr.a- 
mer  (1705-1770),  a  flutist  of  the  celebrated 
band  at  Mannheim,  and  pupil  of  Johann 
Stamitz,  Sen.,  and  of  Caunabicb.  He  was 
admitted  to  the  band  at  Mannheim  when 
sixteen  years  old,  and  was  connected  with 
it  until  his  father's  death,  when  he  removed 
to  London.  He  held  many  important  posi- 
tions. He  was  head  of  the  king's  band,  con- 
ductor at  the  Oj)era  and  the  Pantheon,  the 
Ancient  Concerts,  and  the  Professional  Con- 
certs, and  he  also  conducted  the  Handel  Fes- 
tivals at  Westminster  Abbey,  in  1784  and 
1787,  and  the  Gloucester  Festival  in  1799. 
He  published  eight  concertos,  and  several 
solos  and  trios. — Fetis  ;  Mendel ;  Schil- 
ling ;  Wasielewski,  Die  Violine  luid  ihre 
Meister,  185. 

CRAPPIUS,  ANDREAS,  born  at  Liine- 
burg,  about  the  middle  of  the  16th  century. 
Cantor  and  composer  at  Hanover.  Works : 
Melodise  cpithalamii  in  honorem  nuptiarum 
Johannis  Schneideweiu  (Wittenberg,  1568) ; 
Sacrse  cantiones  4  et  6  vocum  (Magde- 
burg, 1581,  1584) ;  Sacrss  aliquot  can- 
tiones quinque  et  se.x  vocum  aptissimse,  tarn 
vivse  voci  quam  diversis  musicorum  in- 
strumentorum  generibus,  harmonia  accom- 
modate', quibus  adjuncta  est  missa  ad 
imit.  cantionis  germanica;  ;  Schafi't  in  mir, 
Gott,  eiu  reines  Herz  (Magdeburg,  1581)  ; 
Erster  Theil  newer  geistlicher  Lieder  und 
Psalmen  mit  dreyen  Stimmeii,  etc.  (Helm- 
stiidt,  1594)  ;  Musieaj  artis  elementa  (Halle, 
1608).— Fctis;  Mendel. 

CRAS,  P I ,  born  Sept.  13,  1795, 

died  in  Mechlin,  Nov.  4,  1871.  Organist, 
pupil  of  the  Abbe  Andre,  canon  of  the  Me- 
tropolitan church  of  Mechlin.  He  was  or- 
ganist of  the  church  of  Saint-Jean  at  Mech- 
lin in  1817-1840,  and  afterwards  at  Sainte- 
Catherine.  His  works,  which  are  all  for 
the  church,  consist  of  twelve  masses  ;  3 
Tantum  ergo  ;  3  Ave  Maria  ;  12  pieces  for 
organ  ;  etc. — Fctis,  Supplement,  i.  214  ; 
Mendel,  Ergiinz.,  70. 

CRASSOT,  RICHARD,  born  in   Lyons, 
France,    about    1530?  died   (?).     He    pub- 


CKAYWINCKEL 


lished  :  Les  psaulmes  mis  en  rime  fran9oise 
par  CI.  Marot  et  Th.  de  Beze,  et  iiouvelle- 
ment  mis  en  musique  a  quatre  parties  par 
Kichard  Crassot,  excellent  musicien,  le  tout 
en  uu  volume  (Lyou,  1564).  This  was  pub- 
lished also  in  a  second  edition  with  the  title  : 
Les  CL  psaumes  de  David  a  quatre  parties, 
avec  la  lettre  au  long  (Geneva,  1.569). — Fe- 
tis  ;  Mendel. 

CRAYWINCKEL,  FERDINAND  MAN- 
UEL MARTIN  LOUIS  BARTHELEMY 
DE,  born  in  Madrid,  Aug.  24,  1820,  still 
living,  1888.  Composer  of  sacred  music, 
pupil  of  Bellon,  who  was  a  pupil  of  Reicha. 
He  is  maitre  de  chapelle  of  St.  Bruno,  Bor- 
deaux, where  he  has  lived  since  1825. 
Among  his  works,  which  are  in  the  stjle 
of  Weber,  are :  Deuxieme  messe,  en  sol 
mineur  ;  2  collections  of  canticles ;  4  messes 
solenuelles  for  three  voices,  solos  and  or- 
chestra, the  third  one  of  which  was  given 
at  Notre  Dame,  Bordeaux,  and  by  the  So- 
ciety of  Saint  Cecilia ;  20  motets  and  Sa- 
ints ;  2  collections  of  canticles  ;  a  Stabat ; 
5  masses  for  the  principal  feasts  of  the 
year  ;  Antiennes  de  la  sainte  Vierge  ;  etc. 
— Fc-tis,  Suppk'ment,  i.  214  ;  Mendel,  Er- 
giinz.,  71. 

CREATION  THE.     See  Schopfung,  Die. 

CREDIA,  PIETRO,  born  at  Vercelli, 
Italy,  about  the  beginning  of  the  17th  cen- 
tury, died  in  Rome  in  1648.  Studied  at 
the  Collegio  degli  Innocenti,  and  became 
Minor  canon  of  the  church  of  S.  Eusebio, 
and  subsequently  maestro  di  cappella  at  the 
same  church.  Called  to  Rome,  he  became 
a  musician  of  the  Sixtine  Chapel,  but  after- 
wards retired  to  the  Jesuit  College.  He  left 
several  books  of  masses  and  vespers  in  MS. 
— Fetis. 

CREIGHTON  (Creyghton),  Rev.  ROB- 
ERT, D.D.,  born  in  Cambridge,  England, 
about  1639,  died  at  Wells,  in  1736.  Son  of 
the  Rev.  Dr.  Creyghton,  Bishop  of  Bath 
and  Wells,  who  attended  Cliarles  H.  in 
exile.  He  became,  like  his  father,  Greek 
professor  at  Cambridge,  and  was  appointed 
canon  residentiary  and  precentor  of  Wells 


Cathedral.  He  applied  himself  early  in 
life  to  the  studj'  of  church  music,  and  is 
reckoned  among  tlie  masters  of  his  time. 
His  anthem,  1  will  arise  and  go  to  my  father, 
is  weU  known.  Several  of  his  services  and 
anthems  are  extant  in  the  library  of  Wells 
Cathedral.  Tudway's  MS.,  in  the  British 
Mus.,  contains  another  and  an  anthem. 
Praise  the  Lord. — Grove  ;  Fetis. 

CREJIONESI,  AMBROGIO,  lived  in  Italy, 
middle  of  the  17th  century.  He  was  maes- 
tro di  caj)pella  at  Ortona-a-Mare ;  and  au- 
thor of  Madrigali  concertati  (Venice,  1636). 
— Fctis  ;  Mendek 

CRfiMONT,  PIERRE,  born  at  Aurillac, 
France,  in  1784,  died  in  Tours,  March,  1846. 
Violinist  and  clarinetist,  pupil  at  the  Paris 
Conservatoire  until  1803,  when  he  travelled 
in  Germany  and  Russia,  where  he  lived 
several  years  as  director  of  the  Theatre 
Franj'ais  in  St.  Petersburg.  In  1817  he  re- 
turned to  Paris,  became  assistant  conductor 
of  the  orchestra  at  the  Opt'ra  Comique  in 
1821,  went  to  the  Odeon  in  1824,  where  he 
organized  the  orchestra  for  the  performance 
of  Italian  and  German  operas.  He  returned 
to  the  Opt'ra  Comique  as  director  in  chief 
in  1828,  and  remained  there  until  1831, 
when  he  went  to  Lyons  to  direct  the  or- 
chestra of  the  Grand  Theatre.  Works  : 
Concerto  pour  violon,  op.  1  :  Trois  marches 
funebres  pour  harmonie  militaire  ;  Har- 
monie  pour  musique  militaire,  liv.  1  et  2  ; 
Concerto  pour  la  clarinette,  op.  4  ;  Quatuor 
pour  deux  violons,  alto  et  basse  ;  Fantaisies 
pour  violon  jJrincipal  sur  I'air,  Au  clair  de 
la  lune,  avec  violon,  alto  et  basse,  op.  8  ; 
Duos  pour  deux  violons,  ceuvres  10  et  11  ; 
Fantaisie  pour  violon  principal  sur  ini  air 
des  montagnes  de  I'Auvergne,  avec  quatuor, 
op.  11  ;  Trois  trios  concertants  pour  deux 
violons  et  alto,  op.  13. — Fi'tis  ;  Mendel. 

CREOLE,  L.^,  opera-comique  in  three 
acts,  text  by  Albert  Milland,  music  by  Offen- 
bach, represented  at  the  Bouffes  Parisiens, 
Paris,  Nov.  3,  1875.  The  cast  was :  Dora, 
Mme  Judic  ;  Reno,  Mme  Van-Ghell  ;  An- 
toinette,   Mme   Luce  ;  Commandant,    Dau- 


sti 


citfiyriLLox 


brav  ;  Frontigiiae,  Cooijor  ;  Sixiiit-Clianias, 
Fugure. 

CREQUILLON  (CrecquiUoii),  THOMAS, 
born  near  Ghent  at  the  begiuuiug  of  the 
16th  century,  died  at  Bethune  iu  1557. 
Eminent  contrapuntist,  maestro  de  capilhi 
to  Charles  V.,  at  Madrid,  about  1544—i7, 
afterwards  canon  successively  at  Namur 
(until  1552),  Termoude  (until  1555),  and 
Bt'thune.  He  ranks  with  Clemens  non 
Papa,  and  Nicolas  Gonibert,  among  the  great 
musicians  of  that  epoch.  His  works  con- 
sist of  many  masses,  motets,  cantiones,  and 
French  chansons  for  four,  five,  and  six 
voices. — Biog.  nat.  de  Belgique,  iv.  4'.)4  ; 
Fetis  ;  Mendel. 

CRESO  (Crffisus),  king  of  Lydia,  whose 
famous  interview  with  Solon  is  related  by 
Herodotus,  is  the  subject  of  the  following 
operas  :  Creso,  Italian  opera  in  three  acts, 
text  by  Minato,  music  by  Antonio  Draghi, 
represented  at  Vienna,  1G78  ;  music  by 
Ciiovanni  Legreuzi,  Venice,  1081  ;  music 
by  JommeUi,  Rome,  1743  ;  three  acts,  mu- 
sic by  Abos,  London,  1758  ;  music  by  Sac- 
chini,  Naples,  1765,  London,  1775  ;  music 
by  Cafaro,  Turin,  17G8  ;  music  by  Felice 
Alessandri,  Pavia,  1774 ;  mu.sic  by  Anfossi, 
Rome,  1787  ;  music  by  Terziani,  Venice, 
1788.  Krcisus,  German  opera,  three  acts, 
text  by  Bostel,  music  by  Fortsch,  Hamburg, 
1684  ;  music  by  Reinhold  Keiser,  same  text, 
Hamburg,  1711,  1730.  Creso  in  Media, 
music  by  Josejah  Schustei',  Najsles,  1779. 
Creso  tolto  alle  fiamme,  music  by  Polaui, 
Venice,  1705. 

CRESPEL  (Crispel,  Chrispel),  JEAN, 
Belgian  musician,  lived  in  the  IGtli  century, 
pupil  of  Johannes  Okeghem.  Nothing  is 
known  of  bis  life,  but  many  of  his  composi- 
tions are  in  collections  published  in  the  sec- 
ond half  of  the  16th  century.  Some  of  his 
motets  are  in  Thesaurus  Musieus  (Nurem- 
berg, 1564)  ;  and  some  of  his  chansons  in 
Recueil  des  fleurs  produites  de  la  divine 
musique  (Louvain,  1569).  The  first  book 
of  a  collection  of  French  chansons  published 
at  Louvain  in  1558,  has  a  chanson  of  his, 


arranged  as  a  canon  for  four  voices  :  Fills 
qui  prend  facecieulx  mary. — Biog.  nat.  de 
Belgi(|ue,  iv.  499  ;  Fetis  ;  Mendel ;  do., 
Ergilnz.,  71. 

CRESSONNOIS,  JULES  ALFRED,  born 
at  Mortagne  (Orne),  France,  April  17,  1823, 
still  living,  1888.  Pupil  of  Fessy  in  har- 
mony, of  Georges  Kastner  in  counterpoint 
and  composition  ;  entered  the  Gymnase 
Militaire  in  1845,  became  chef  de  musique 
in  1847,  and  from  that  year  until  1869  was 
successively  director  of  music  to  the  Cuiras- 
siers of  the  Imperial  Guard,  the  Guides, 
and  the  Gendarmerie.  From  1808  he  was 
conductor  of  the  orchestra  of  the  Champs- 
Elysees.  Works  :  Chapelle  et  Bachaumont, 
operetta,  Opera  Comique,  1858  ;  Collection 
of  six  vocal  melodies  entitled  Harmonies 
(1862) ;  3  do.  (1863,  1864,  1865)  ;  Romances 
and  melodies,  such  as  le  Cavalier  et  I'Echo, 
Esperance,  Nuit  d'etoiles,  etc.  He  wrote 
the  music  for  the  comedy  Deidamia,  by 
Theodore  de  Banville,  performed  at  the 
Odeon,  1876.— Fetis,  Supplement,  i.  216; 
Mendel,  Ergilnz.,  72. 

CRESSONNOIS,  PAUL,  French  drama- 
tic composer,  son  of  the  preceding,  pupil 
at  the  Conservatoire  of  Paris,  where  he  ob- 
tained a  second  accessit  for  harmony  and 
accompaniment.  He  is  the  author  of  two 
operettas  :  Une  nuit  a  Seville,  1875,  and 
Mac-Hulott,  1877  ;  Hymnis,  opera-comique, 
Nouveau  Theatre  Lyrique,  Nov.  14,  1879. 
— Fetis,  Supplement,  i.  210. 

CRESTE,  JULES,  French  dramatic  com- 
poser, contemporary.  He  is  the  author  of 
Trois  Sultanes,  words  by  Favart,  given  at 
the  Varietes,  Paris,  1853  ;  and  Les  four- 
beries  de  Marinette,  Opera  Comique,  1858. 
He  has  written  also  some  popular  songs. — 
Fetis,  Supplement,  i.  216. 

CRISPI,  Abbate  PIETRO,  born  in  Rome 
about  1737,  died  there  in  1797.  Harpsi- 
chord i^layer,  at  first  an  amateur  and  then 
a  professor  of  music.  He  published  some 
sonatas  and  concertos  in  the  style  of  Al- 
berti  ;  Dr.  Crotch  included  some  of  his 
music  in  his  collection. — Fetis. 


S73 


CRISPINO 


CRISPING  E  LA  COMARE,  Italian 
opera  buft'a  iu  three  acts,  text  by  Piave, 
music  by  Luigi  and  Federico  Ricci,  first 
represented  iu  Venice,  at  the  Teatro  San 
Benedetto,  Feb.  28, 1850.  Scene  in  Venice, 
plot  original.  Crispino,  a  j)oor  cobbler, 
whose  wife  Anuetta  tries  to  help  him  by 
singing  ballads  in  the  street,  becomes  at 
last  so  disconsolate  at  his  iU-luck  that  he 
determines  to  drown  himself  in  a  well.  As 
he  is  about  to  do  this  the  fairy.  La  Comare, 
rises  and  promises  him  fortune  on  condi- 
tion that  he  sets  up  as  a  doctor.  He  f)er- 
forms  wonderful  cures,  becomes  rich  and 
haughty,  ignores  his  old  friends,  and  quar- 
rels with  his  wife.  La  Comare  takes  him 
into  a  subterraneous  cavern,  informs  him 
that  she  is  Death,  and  so  frightens  him  that 
he  promises  amendment,  and  is  finally  re- 
stored to  his  famil}-.  The  underplot,  which 
is  commonly  omitted,  exhibits  the  love  of  the 
Contiuo  del  Fiore  and  Lisetta,  the  ward  of 
an  old  miser  who,  in  love  with  her  himself, 
dies  iu  time  to  permit  their  union.  Among 
the  best  numbers  are  :  "  Istorie  belle  a  leg- 
gere,"  a  canzonetta  in  w^altz  time  sung  bj- 
Annetta  ;  "  Troppo  do,  basta  per  oro,"  duet 
between  her  and  Crispino  ;  "  Ma  signori, 
perchc  tanta  questione  ? "  buffo  trio  be- 
tween Crispino  and  Doctors  Fabrizio  and 
Mirobolante  ;  and  "Piero  mio,  go  qua  una 
fritola,"  an  arietta  sung  l)y  Ainietta.  Cris- 
pino was  first  sung  in  Paris,  at  the  Theatre 
Italien,  Ajjril  i,  1865,  with  the  following 
cast : 

Annetta Signora  Vitali. 

La  Comai-e Signora  Vestri. 

Crispino Siguor  Zucchini. 

II  Contino Signor  Brignoli. 

Dr.  Fabrizio Signor  Agnesi. 

Dr.  Mirobolante Signor  Mercuriali. 

A  French  version  in  four  acts,  Le  docteur 
Crispin,  text  by  Nuitter  and  Beaumont, 
was  given  at  the  Athenee,  Sept.  18,  1869. 

CRISTLANELLI,  FILIPPO,  born  in 
Bari  in  1587,  died  (?).  He  was  maestro 
di  caij^iella  at  Aquila,  kingdom  of  Naples, 


about  1615.     He  published  Salmi  a  cinque 
voci  (Venice,  162G). — Fctis. 

CRIVELLI,  AliCANGELO,  born  iu  Ber- 
gamo about  the  middle  of  the  IGth  century, 
died  in  1610.  He  was  tenor  in  1583  of  the 
Pontifical  Chapel,  where  his  compositions 
were  in  use  for  mauy  years.  Some  of  his 
motets  are  iu  Coustautini's  Selectaj  can- 
tiones  excellentissimorum  auctorum  (Rome, 
1614).  He  left  also  masses,  psalms,  and  mo- 
tets iu  MS.  Three  masses  for  four  voices, 
two  for  five  voices,  and  a  Mass  entitled: 
Transeuute  Domino,  are  iu  the  Santiui  col- 
lection.— Fetis ;  Mendel. 

CRIVELLI,  DOMENICO  FRANCESCO 
IMARIA,  born  in  Brescia,  Italy,  in  1791:, 
died  iu  London,  Dec.  31,  1856.  Son  of 
Gaetauo  Crivelli,  one  of  the  best  Italian 
tenors  (1771-1836).  Pupil  iu  singing  of 
Millico,  in  Naples,  and  at  the  Conservatorio 
di  San  Onofrio,  in  accompaniment,  of  Fena- 
roli.  In  1812  he  went  to  Rome,  where  he 
studied  under  Zingarelli.  On  his  return  to 
Naples,  in  1813,  he  composed  several  pieces 
of  sacred  music,  and  in  1816  wrote  an  op- 
era for  the  San  Carlo,  the  production  of 
which  was  prevented  by  the  burning  of  the 
theatre.  He  joined  his  father  in  Loudon, 
iu  1817,  and  became  noted  as  a  teacher  and 
didactic  writer.  Works  :  Cantata  for  three 
voices  with  orchestral  accompaniment ;  La 
fiera  di  Salerno,  ossia  la  fiuta  capriceiosa, 
opera  bufia  ;  Songs. — Fetis  ;  Mendel. 

CRIVELLI,  GIOVANNI  BATTISTA, 
born  at  Scaudiano,  last  of  the  16th  century, 
died  iu  Slodeua,  March,  1652.  He  was  or- 
ganist of  the  cathedral  at  Reggio,  then  ma- 
estro di  cappella  of  the  Santo  Spirito, 
Ferrara,  and  finally,  in  1651,  entered  the 
service  of  Francis  I.,  Duke  of  Modena,  as 
maestro.  Among  his  works  are ;  Primo 
Libro  de'  motetti  concertati  a  due,  tre, 
quattro  e  cinque  voci  (1626;  2d  ed.,  1628; 
3d,  1635) ;  II  Primo  Libro  de'  madrigali 
concertati  a  due,  tre,  e  quattro  voci  (Venice, 
1633).— Fetis  ;  Mendel. 

CROATTI,  FRANCESCO,  born  in  Ven- 
ice about  the  middle  of  the  16th  centurj'. 


371 


CROCE 


He  published  liis  first  book  of  masses  and 
motets  for  five  and  six  voices  in  that  city. 
Bodenscliatz  lias  given  one  of  his  motets 
for  eight  voices  iu  his  Florilegium  Portense. 
— Fc'tis  ;  Mendel. 

CROCE,  GIOVANNI  DALLA,  caUed 
Chiozzotto,  born  at  Chioggia,  Italy,  about 
1550,  died  in  Venice,  August,  1600.  Pupil 
of  Zarlino,  who  placed  him  in  the  choir  of 
S.  Marco,  of  which  he  eventually  became 
maestro,  succeeding  Baldassare  Donato  iu 
1603.  He  was  also  a  priest  of  S.  M.  For- 
mosa. Works  :  Sonate  a  cinque  (Venice, 
1580)  ;  II  primo  Libro  de'  Madrigali  a 
cinque  (ib.,  1585) ;  II  Secondo,  do.,  con  uno 
a  quattro  e  1'  eco  (ib.,  1588)  ;  Motetti  a  otto 
voci,  lib.  i.  (ib.,  1589)  ;  II  secondo  Libro  de' 
Motetti  a  otto  voci  (ib.,  1590  ;  these  two 
books  were  reprinted  with  this  title  :  Mo- 
tetti a  otto  voci  del  R  P.  Giovanni  Croce 
Chiozzotto,  etc.,  ib.,  1607);  Salmi  a  tre 
voci,  Te  Deum,  Benedietus,  Miserere  a  otto 
voci  (ib.,  1596) ;  Triaca  musicale,  contain- 
ing seven  humourous  pieces  for  four,  five, 
six,  and  seven  voices  (ib.,  1597)  ;  Canzo- 
nette  a  quattro  voci,  lib.  i.  (ib.,  1595) ;  Ves- 
pertine omnium,  etc.  (ib.,  1589)  ;  Messe 
a  cinque  voci,  lib.  i.  (ib.,  1596) ;  Septem 
psalmi  poenitentiales  sex  vocum  (ib.,  1598)  ; 
Sacrre  cantiones  quinque  vocum,  Lamenta- 
zioni  ed  Improperie,  etc.  (ib.,  1603) ;  Mag- 
nificat, motetti  a  quattro  voci  (ib.,  1605)  ; 
Nove  Lamentazioni  (ib.,  1610) ;  Madrigali 
a  sei  voci  (Antwerp,  1610) ;  Cantiones  sa- 
erse  octo  vocum  (Antwerp,  1622)  ;  do.,  lib. 
ii.  (ib.,  1623).  An  English  collection  of  his 
church  music  is  entitled  :  Musica  Sacra  for 
six  voyces  (London,  1608).  His  madrigal, 
Cynthia,  thy  song  and  chanting,  is  an  Eng- 
lish favourite.  Six  of  his  motets  have  been 
published  in  Mr.  Hullah's  Part  Music,  and 
nine  in  the  collection  of  the  Motet  Society. 
— Fetis ;  Grove;  Mendel;  Riemann. 

CROCIATI  IN  PTOLEMAIDE,  I  (The 
Crusaders  in  Ptolemais),  Italian  opera,  mu- 
sic by  Pacini,  given  in  Trieste  about  1827. 

CROCIATO  IN  EGITTO,  IL  (Thfr  Cru- 
sader iu  Egypt),  grand  heroic  opera,  text 


by  Rossi,  music  by  Meyerbeer,  first  rejire- 
sented  at  La  Fenice,  Venice,  1824.  The 
last  opera  of  Meyerbeer's  second  or  Italian 
period,  and  the  first  iu  which  he  revealed 
his  nuisical  genius.  It  was  enthusiastically 
received,  and  the  com^joser  was  called  for 
and  crowned  upon  the  stage.  One  of  the 
best  of  its  numbei-s  is  the  soprano  aria, 
"Ah!  come  rajjida." — Hanslick,  Moderne 
Oper,  140. 

CROES,  HENRI  DE,  born  at  Brussels 
in  1758,  still  living  at  Ratisbon  in  1811. 
Son  and  pupil  of  Henri  Jaccpies  de  Croes, 
like  whom  he  became  musical  director  to 
the  Prince  of  Thurn  und  Taxis.  Works : 
Masses,  cantatas,  symphonies,  concertos, 
morceaux  d'harmonie,  etc.,  several  of  which 
have  been  published  in  Germany. — Fi'tis  ; 
Mendel. 

CROES,  HENRI  JACQUES  DE,  born  at 
Antwerp,  bapt.  Sept.  19,  1705,  died  at  Brus- 
sels, Aug.  16,  1786.  At  first  violinist  and 
assistant  maitre  de  chapelle  at  St.  Jacques', 
Antwerp,  he  became  director  of  music  to 
the  Prince  of  Thurn  und  Taxis  at  Ratisbon 
in  1729,  and  went  in  1715  (or  1749)  to 
Brussels,  where  he  conducted  the  choir  of 
the  Royal  Chapel  until  1755,  when  he  suc- 
ceeded N.  de  (!roes  (probably  his  father)  as 
maitre  de  chapelle  to  Prince  Charles  of  Lor- 
raine. His  works  consist  of  masses,  motets, 
anthems,  etc.;  symphonies  and  sonatas  for 
different  instruments. — Fetis,  Supplement, 
i.  219  ;  Mendel,  Erganz.,  72  ;  Riemann. 

CRCESUS.     See  Creso. 

CROFF,  GIOVANNI  BATTISTA,  born 
in  the  beginning  of  the  19th  century,  died 
in  ]\Iilan  in  February,  1868.  Professor  of 
harmony  at  the  Conservatorio  of  Milan 
from  1850  until  his  death.  He  wrote  an 
opera  bufi'a,  (^uauti  casi  in  un  sol  gior- 
no,  given  at  La  Scala  in  1834  ;  and  the 
music  for  a  ballet,  Giovanni  di  Leida,  ossia 
il  falso  profeta.  He  published  also  music 
for  the  pianoforte  and  the  harmonium. — Fe- 
tis,  Suppli'mcnt,  i.  219. 

CROFT,  WILLIAM,  born  at  Nether  Eat- 
ington,   Warwickshire,    England,   in    1677, 


375 


CROISEZ 


died  in  Loudon,  Aug.  14,  1727.  He  was 
one  of  the  children  of  the  Chapel  Royal 
under  Dr.  Blow, 
and  succeeded  hiui 
at  his  death,  in 
1708,  as  organist  of 
Westminster  Abbey 
and  as  master  of 
the  children  and 
composer  to  the 
vV,  Chapel   Royal.      It 

was  in  the  discharge 
of  the  duties  of  the  latter  office  that  he  pro- 
duced, for  the  frequent  thanksgivings  for 
victories,  so  manj'  of  his  noble  anthems. 
He  became  Mus.  Doc,  O.xford,  July  9, 1713. 
His  llusica  Sacra,  two  folio  volumes,  con- 
taining thirty  anthems  and  a  burial  service, 
was  published  in  1721.  The  two  fine  tunes 
of  St.  Ann's,  and  St.  Matthew's,  and  a  single 
chant  in  B  minor,  will  long  live  in  the  An- 
glican Church.  In  the  earlier  jjart  of  his 
career  he  composed  for  the  theatre,  and 
produced  overtures  and  airs  for  Courtship) 
a  la  mode,  1700  ;  The  Funeral,  1702  ;  The 
Twin  Rivals,  1703  ;  The  Lying  Lover,  1704. 
Numerous  songs  of  his  are  in  collections  of 
the  i^eriod.  He  published  also  sonatas  for 
both  violin  and  flute.^Grove  ;  Fetis ;  Men- 
del ;  Barrett,  English  Church  Composers, 
108  ;  Harmonicon,  1828,  71. 

CROISEZ,  PIERRE,  born  in  Paris,  May 
9,  1814,  still  living,  1888.  Harpist,  pupil 
.at  the  Conservatoire  of  Nadermanu  on  the 
harp,  for  which  he  took  the  second  prize  in 
1829,  and  the  first  in  1831,  and  pupil  of 
Halevy  in  composition.  After  leaving  the 
Conservatoire  in  1832,  he  devoted  himself 
to  the  study  of  the  pianoforte,  for  which  he 
has  Avritten  many  fantaisies,  caprices,  themes 
varies,  and  morceaux  de  genre,  of  medium 
difficulty,  intended  for  pupils. — Fc'tis  ;  Men- 
del. 

CRON,  JOACHIM  ANTON,  born  at  Po- 
dersam,  near  Saatz,  Bohemia,  Sept.  29, 
1751,  died  at  Osseg,  Jan.  20,  1826.  Or- 
ganist, and  virtuoso  on  the  harmonica ; 
pupil   of   the  University   of  Prague,  from 


which  he  went  to  the  Cistercian  Monastery 
of  Osseg.  He  was  professor  at  the  College 
of  Leitmeritz  in  1782,  at  the  Gymnasium  in 
1788,  and  at  the  University  of  Prague  at 
Kommotau  in  1805,  where  later  he  became 
dean  of  the  theological  faculty.  He  was 
considered  a  great  organist,  always  imj^ro- 
vised,  and  none  of  his  compositions  for  the 
organ  were  ever  written  out  or  published. 
Only  a  few  works  for  clarinet  and  jjiauoforte 
are  known. — Fetis  ;  Mendel. 

CROSS,  MICHAEL  HURLEY,  born  of 
American  parentage  in  Philadelphia,  Penn- 
sylvania, April  13,  1833,  still  living,  1888. 
Organist ;  studied  in  Philadelphia  harmony 
and  composition  under  Dr.  Meignen,  piano- 
forte and  organ  under  B.  Cross,  violin  un- 
der C.  Honimann,  and  violoncello  under 
L.  Engelke.  He  has  been  organist  of  the 
following  churches  in  Philadelphia:  St. 
Patrick's,  St.  John's,  First  Bai:)tist,  Beth 
Eden  Baptist,  The  Cathedral,  and  Holy 
Trinity.  He  is,  or  has  been,  also  leader  in 
that  city  of  the  Abt  Society,  the  Orpheus 
Club,  the  Arion  Society,  the  Beethoven  So- 
ciety, The  Cecilian,  and  The  Eurydice. 
"Works  :  Masses  and  other  church  music  ; 
Pianoforte  compositions  ;  Quartets  and  other 
concerted  music  ;  Songs. 

CROTCH,  WILLIAM,  born  in  Norwich, 
England,  July 
15,  1775,  died 
in  Taunton,  Dec. 
29,  1847.  Or- 
ganist of  remark- 
able precocity, 
peiforming  i  n 
London  in  1780, 
■when  only  five 
years  old.  Dr. 
B  u  r  n  e  y  p  u  b  - 
lished  an  inter- 
esting account  of  him,  which  was  commu- 
nicated to  the  Royal  Academy  and  printed 
in  the  Philosophical  Transactions  in  1779. 
He  went  in  1786  to  Cambridge  as  assist- 
ant to  Dr.  Randall,  organist  of  Trinity  and 
King's  College,  and  at  fourteen  composed  an 


S7C 


CUOUCII 


oratorio,  The  Captivity  of  Jadali,  perforiued 
at  Trinity  Hall,  Cambridge,  iu  1789.  In 
1788  be  weut  to  Oxford,  aud  in  1790  was 
appointed  organist  of  Christ  Church,  aud 
in  1794  Mus.  Bac.  He  succeeded  Dr. 
Philip  Haves  in  1797,  as  organist  of  St. 
John's  College  aud  2'i'ofessor  of  music  in 
the  University,  and  became  Mus.  Doc.  in 
1799.  From  1800  to  1804  he  delivered 
lectures  iu  the  Music  School.  He  pro- 
duced his  oratorio,  Palestine,  and  published 
a  treatise  on  the  Elements  of  Musical  Com- 
position in  1812.  About  1820  lie  was  ap- 
pointed music  lecturer  at  the  Eoyal  Insti- 
tute, London,  aud  on  the  establishment  of 
the  Eoyal  Academy  of  Music,  in  1822,  he 
was  made  its  jii'i'icipal.  In  1834  he  pro- 
duced a  second  oratorio.  The  Captivity  of 
Judah,  entirely  difierent  from  his  earlier 
composition,  and  conducted  the  Royal  Mu- 
sical Festival  at  Westminster  in  the  same 
year.  Among  his  other  works  are :  Ten 
anthems,  some  chants,  several  glees,  fugues, 
and  concertos  for  organ.  His  ode,  Mona 
on  Snowdeu  calls,  his  glee.  Nymph  with 
thee,  and  his  motet,  Methinks  I  hear  the 
full  celestial  choir,  for  bass  solo  and  cho- 
rus, were  very  popular.  He  published 
works  on  thorough  bass  and  harmony,  and 
resumus  of  his  lectures  at  Oxford. — Grove  ; 
Ft'tis  ;  Larousse  ;  Mendel  ;  Schilling  ;  Kie- 
mann  ;  Barrett,  English  Church  Composers, 
157  ;  Harmonicon,  1831,  3. 

CROUCH,  FREDERICK  WILLIAM 
NICHOLLS,  born,  of  English  parentage,  iu 
London,  July  31,  1808,  still  living,  1888. 
His  grandfather,  William  Crouch,  was  or- 
ganist of  Old  Street  Road  Church,  St. 
Luke's  parish,  and  of  ClaiDliam  Rise  Church, 
Surrey ;  his  father  was  Frederick  William  [ 
Crouch,  violoncellist  and  composer.  He 
studied  music  under  his  grandfather  aud 
father,  and  the  violoncello  under  Bochsa, 
and  aljout  1822  entered  the  Royal  Academy 
of  Music  in  London,  where  he  had  as 
teachers  Dr.  Crotch  and  Thomas  Attwood 
iu  harmony.  William  Hawes  in  Eiiglish 
singing,    Richard    Lindley    iu    violoncello  | 


playing,  and  Crivelli  iu  Italian  singing. 
He  made  his  first  public  appearance  at  the 
Royal  Coburg  Theatre,  Loudon,  when  nine 
years  old  ;  in  1820  he  played  in  the  orches- 
tra at  the  coronation 
of  George  TV. ;  was  a 
member  of  Queen  Ade- 
laide's i^rivate  band 
until  it  was  abolished 
iu  1832,  on  the  pas- 
sage of  the  Reform 
Bill,  and  sang  at  one 
time  as  chorister  in 
Westminster    Abbey 

aud  St.  Paul's  Cathedral.  After  living  as 
a  concert  singer  and  vocal  teacher  in 
Plymouth,  he  became  in  1838  supervisor 
in  D'Almaine  &  Co.'s  music-publishing 
house,  London,  serving  also  as  violoncellist 
at  Drury  Lane,  Covent  Garden,  and  the 
Haymarket  Theatres.  In  1849  he  went 
to  New  York  and  served  as  violoncellist 
at  the  Astor  Place  Opera  House,  thence 
went  to  Boston,  and  iu  1850  to  Portland, 
Me.,  where  he  produced  Rossini's  Stabat 
Mater  with  his  owu  translation.  In  1856 
he  removed  to  Philadelphia,  where  he  con- 
ducted Mi-s.  Rush's  Saturday  Concerts,  and 
brought  out  Mehul's  Joseph  and  his  Breth- 
ren ;  he  afterwards  went  to  Washington, 
D.  C,  as  choir-conducter  of  St.  Matthew's 
Church,  in  which  Palmer  (later  known  as 
Heller,  the  magician)  was  the  organist. 
Crouch  and  Palmer  established  in  Wash- 
ington an  Academy  of  Music,  which  failed, 
and  Crouch  went  to  Richmond,  Va.,  where 
he  sang  first  bass  iu  the  choir  of  St.  Paul's 
Church.  He  served  during  the  civil  war  in 
the  Confederate  army,  and  after  its  close 
settled  in  Baltimore,  Md.,  where  he  was  for 
many  years  well  known  as  a  teacher  of  mu- 
sic, and  where  he  still  resides.  Within  a 
few  years  he  has  had  conferred  upon  him 
the  certificate  of  fellowship,  aud  a  medal 
for  musical  comjjosition,  by  the  Society  of 
Letters,  Arts,  and  Sciences  of  London. 
Having  become  reduced  in  circumstances 
through  sickness  and  other  misfortunes,  a 


■377 


CEOW 


testimonial  concei't  was  given  him  in  Balti- 
more, May  30,  1883,  and  about  the  same 
time  he  became  the  legally  adopted  father 
of  a  friend  who  wished  to  alleviate  his 
condition.  Though  remembered  priuci- 
l^ally  for  his  Kathleen  Mavourneeu,  all 
Crouch's  music  is  refined  and  shows  him  to 
be  possessed  of  a  fund  of  melody,  and  of 
considerable  artistic  merit.  Works :  Sir 
Eoger  de  Coverley,  opei-a  (MS.) ;  The  Fifth 
of  November,  1C70,  opera  (MS.).  Collec- 
tions :  Echoes  of  the  Lakes ;  Twenty-four 
Irish  Songs,  poetry  bj'  Mrs.  Crawford  (1840, 
containing  Kathleen  Mavourneen) ;  Songs 
of  Erin,  jJoetry  by  D.  Ryan  ;  Echoes  of  the 
Past ;  Bardic  Remiuisceuces  ;  Songs  of  the 
Past ;  Songs  of  the  Olden  Time  ;  Songs  of 
a  Rambler :  Songs  of  the  Parish  Wake  ; 
Songs  of  the  Seasons  ;  Songs  of  the  Abbeys 
and  Cathedrals ;  Songs  of  Shakespeare  ; 
Songs  of  a  Voyager  ;  Songs  of  the  Bards, 
and  other  collections ;  Songs,  etc.  He  is 
the  author  also  of  a  Complete  Treatise  on 
the  Violoncello  (London,  1827). 

CROW,  ED'WIN  JOHN,  born  at  Sitting- 
bourne,  England,  Sept.  17,  1841,  still  living, 
1888.  Organist,  fiupil  of  John  Larkin  Hop- 
kins at  Rochester  Cathedral,  of  John  Hop- 
kins, Dr.  Steggall,  and  of  Banister.  Or- 
ganist, successively,  of  three  churches  at 
Leicester,  1861-73,  and  since  1873  of  Kipon 
Cathedral.  Mus.  Bac,  Cambridge,  1872. 
Mas.  Doc,  1882.  Works:  Church  Oratorio 
for  harvest  time  ;  The  14Gth  Psalm,  for  voices 
and  orchestra  ;  Communion  Service  in  F  ; 
Morning  Service  in  C  ;  Evening  Services  in 
G,  A,  and  D  ;  Music  for  masonic  ceremo- 
nies ;  Hj-mns,  chants,  etc.  ;  Orchestral  and 
organ  works  ;  Pianoforte  music. 

CROWN  DIAMONDS.  See  Diamants  de 
la  couroune. 

CROWN  WITH  FESTAL  P0:MP,  cho- 
rus in  D  major,  in  Handel's  Hercules', 
Part  i. 

CRO'WNED  WITH  THE  TEMPEST. 
See  Ernani. 

CROZE,  FERDINAND  DE,  born  in  Mar- 
seilles, about  1828,  stiU  living,  1888.     Pian- 


ist, who  began  teaching  early  in  life.  He 
is  a  proUtic  writer  of  pianoforte  music,  and 
has  published  at  least  a  hundred  and  fifty 
compositions,  such  as  caprices,  etudes,  reve- 
ries. Serenades,  etc. — Fetis,  Supplement,  i. 
220. 

CROZE,  J B ,  French  dramatic 

composer,  contemporary.  His  opera  en- 
titled :  Louise  de  Charolais,  was  given  in 
Marseilles  in  1854.  Others  which  have 
not  been  produced  are  :  Harold,  opera 
fantastique,  and  La  Moabite,  opera  biblique, 
though  the  latter  was  given  by  a  society 
of  amateurs  at  INIarseilles.  He  has  pub- 
lished also  music  for  the  pianoforte  and  vi- 
olin, songs,  and  dance  music— Fetis,  Sup- 
plement, i.  220. 

CEUDEL,     PERCHE     FINORA.      See 
Nozze  di  Figaro. 

CRiJGER,  JOHANNES,  born  at  Gross- 
Breesen  near  Guben, 
Prussia,  April  9, 
1598,  died  in  Berlin, 
Feb.  23,  1662.  He 
was  educated  at  the 
Jesuit  College  of 
Olmiitz,  at  the  school 
of  poetry  at  Ratis- 
bon,  and  the  Uni- 
versity of  Witten- 
berg, and  was  cantor  of  the  church  of  St. 
Nicolaus,  Berlin,  from  1622  until  his  death. 
Works :  Meditationum  musicarum  Para- 
disus  primus,  oder  Erstes  musikalisches 
Lustgiirtlein,  for  three  and  four  voices 
(Frankfort,  1622),  and  Med.  mus.  Parad.  se- 
cundus  (Berlin,  1626)  ;  a  collection  of  Mag- 
nificats in  German,  in  two  and  eiglit  part 
harmony  written  in  all  the  eight  modes; 
Praxis  pietatis  melica,  for  four  voices  and 
two  instruments,  a  collection  of  Luther- 
an hymns  (Leipsic,  1649 ;  30th  ed.,  Berlin, 
1703).  The  best  known  numbers  in  this 
collection  are  :  Nun  danket  alle  Gott ;  Jesu 
meine  Zuver-sicht ;  Jeau  meine  Freude  ;  and 
Schmfid-e  dich,  O  Hebe  Seole.  His  Recrea- 
tiones  rausicie,  das  ist  neue  poetische  Arao- 
riisen,  contained  thirty-two  pieces  (Leipsic, 


378 


CRUSADERS 


1G51).  Amoug  liis  tbeoretical  works  are, 
Synopsis  miisica  (Berlin,  1G24)  ;  a  method 
for  tliorougb  bass  ;  Precepta  musieje  prac- 
tice figuralis  (ib.,  1625)  ;  Quajstiones  mu- 
sicse  practice  (ib.,  1650). — Fetis  ;  Mendel ; 
Eiemann  ;  Winterfeld,  Der  evaug.  Kircben- 
gesang,  ii.  159. 

CRUSADERS,  THE,  or  The  Old  Mau  of 
the  Mountain,  English  opera  in  three  acts, 
text  by  Saint-Georges,  music  by  Julius  Bene- 
dict, represented  at  Drury  Lane,  London, 
1846,  and  in  Munich,  1853.  The  old  man 
is  the  chief  of  the  sect  of  Assassins.  Die 
Kreuzfahrer  (The  Crusaders),  text  by  Ko- 
tzebue,  music  by  von  Seyfried,  given  in 
Vienna,  1809  ;  music  by  Eeichardt,  same 
text,  Germany,  1810  ;  Romantic  opera  in 
three  acts,  text  by  Ziegler,  music  by  Georg 
Kremjielsetzer,  given  iu  Munich,  Feb.  17, 
1865.  Der  Kreuzfahrei',  romantic  ojjera  in 
three  acts,  text  by  the  composer  and  his 
wife  Marianne,  music  by  Louis  Sjjohr,  given 
iu  Cassel,  Jan.  1,  1845.  La  Croisee,  opera 
in  two  acts,  music  by  Cambiui,  Beaujolais, 
1785.  The  Crusade,  English  historical  op- 
era, music  by  William  Shield,  Covent  Gar- 
den, London,  1790. 

CRUSADER.S,  THE,  cantata  by  Gade. 
See  Kreuzfahrer,  Die. 

CEUSELL,  HENRIK  BERNHARD,  born 
at  Nystad,  Finland,  Oct.  1.5,  1775,  died  at 
Stockholm  in  July,  1838.  Clarinet  player, 
self-taught  until  1791,  when  he  received  his 
first  instruction  r.t  Stockholm,  then  iu  Ber- 
lin (1798)  25upil  of  Tausch,  the  elder,  and 
in  Paris  (1803)  of  Berton  and  Gossec  in 
composition.  In  1811-12  he  made  several 
concert  tours,  and  afterwards  became  mu- 
sical director  of  the  two  royal  guard  regi- 
ments at  Stockholm.  Works  :  Concerto  for 
clai-inet,  o-p.  1  ;  Idem,  op.  5  ;  Concerted 
symphony  for  clarinet,  horn,  and  bassoon, 
op.  3  ;  Quartets  for  clarinet,  violin,  viola, 
and  bass,  op.  2,  4,  7,  and  8  ;  Duos  for  two 
clarinets,  op.  6  ;  Divertissement  for  oboe 
with  quartet,  op.  9  ;  Twelve  German  songs, 
with  i^ianoforte  accompaniment,  op.  10 
(Leipsic). — Fotis  ;   Mendel. 


CRUZ,  FELIPPE  DA,  born  in  Lisbon,  be- 
ginning of  the  17th  century.  A  clerk  in 
the  monastery  of  Palmella,  Portugal,  he  at 
first  taught  music  in  Lisbon,  and  then  went 
to  Madrid,  where  he  became  almoner  to 
Philip  IV.  He  was  recalled  to  Portugal  by 
Joiio  IV.,  who  made  him  his  mestre  de  ca- 
pella.  The  following  works  are  in  the  MS. 
department  of  the  Royal  Library  at  Lisbon  : 
A  mass  for  ten  voices  on  the  Portuguese 
song.  Quel  razon  ijodeis  vos  tener  jxara  no 
me  querer  ;  another  mass  on  the  song.  Solo 
regnas  tu  en  mi ;  Psalmos  de  vesperas,  e 
eompletos  a  4  coros  ;  Motete  de  defuntos  ; 
Dimitte  me,  a  12  ;  Motete,  Vivo  ego,  a  5  ; 
Vilhancicos,  a  diversas  vozes. — Fetis  ;  Men- 
del ;  Vascoucellos,  75. 

CRYSTAL  STREAMS  IN  MURMURS 
FLOWING,  soprano  air  in  G  major,  of  Su- 
sanna, iu  Handel's  Susanna,  Part  II. 

CUDMORE,  RICHARD,  born  in  Chi- 
chester, England,  in  1787,  died  in  Man- 
chester, January,  1841.  Violinist,  pupil  of 
James  Forgett,  organist  in  Chichester,  and 
later  of  Reinagle  and  Salomon.  After  play- 
ing in  the  orchestra  of  the  Italian  Opera, 
London,  he  resided  in  Chichester  in  1779- 
1808,  and  then  returned  to  London  to  study 
the  pianoforte  under  Woelfl,  and  became  a 
member  of  the  Philharmonic  Society's  band. 
He  afterwards  lived  in  Manchester  as  leader 
of  the  Gentlemen's  Concerts.  Works :  Mar- 
tyr of  Antioch,  oratorio  ;  Concertos  for  vio- 
lin ;  Concertos  for  pianoforte  ;  Songs,  etc. 
— Grove ;  Fetis. 

CUELLAR  Y  ALTARRIBA,  RAMON 
FELIX,  born  in  Santiago,  Spain,  close  of 
the  18th  century,  died  Jan.  7,  1833.  Or- 
ganist, chorister  in  the  Cliurch  of  La  Sen 
at  Saragossa,  jjupil  of  Gai-cia,  called  I'Es- 
pagnolet.  He  became  maestro  de  caisilla  of 
the  Cathedral  of  Oviedo  in  1817,  chamber- 
musician  to  the  king,  and  finally  organist  of 
the  Meti'opolitan  Church  of  Santiago  until 
his  death.  Works  :  Sixteen  masses  ;  Nine 
Psalms  ;  Five  Magnificats  ;  Lamentations  ; 
some  Te  Deum,  and  a  great  many  canticles 
and  motets,  which  are  scattered  throughout 


379 


cm 


the  clmrclies  of  Spain,  partieiilarlv  those  of 
Saragossa. — Fc'tis,  Supplement,  i.  220  ;  Men- 
del, Ei'ganz.,  72. 

GUI  (Kiii),  CESAR,  born  at  Wilua,  Jan.  6, 
1835,  still  living, 
1888.  Dramatic 
composer,  pupil 
of  Moniuszko  and 
of  Balakirev.  lu 
1864-68  musical 
critic  of  the  St. 
Petersburg  G  a  - 
zette,  he  warmly 
embraced  the 
cause  of  Schu- 
mann, Berlioz, 
and  Liszt,  and  in  1878-79  published  in  the 
Paris  Revue  et  Gazette  Musicale  a  series 
of  articles,  La  Musique  en  Eussie.  As  a 
composer  he  belongs  to  the  young  Russian 
school.  By  profession  a  military  engineer, 
he  was  educated  at  the  Imperial  Academy 
of  Engineering  in  St.  Petersburg,  where  he 
afterwards  became  successively  instructor, 
adjunct-professor,  and  professor  of  fortifica- 
tion, on  which  he  has  also  written  a  treatise 
and  a  historj'.  Works  —  Operas  :  "William 
Ratcliff,  given  at  St.  Petersburg,  1869  ;  The 
Prisoner  in  the  Caucasus,  ib.,  1873  ;  Angelo, 
ib.,  1876  ;  The  Mandarin's  Son,  ib.,  1878  ; 
Two  Scherzos  and  a  Tareu telle  for  orchestra  ; 
Suite  for  pianoforte  and  violin  ;  more  than 
fifty  songs. — Fetis,  Supplement,  i.  220  ;  Rie- 
maiin. 

CUMmNGS,  WILLIAM  HAY]\IAN,  born 
at  Sidbury,  Devon,  England,  in  1835,  still 
living,  1888.  A  member  when  very  young 
of  the  choir  of  St.  Paul's,  and  later  of  the 
Temple  Church,  London,  he  became  or- 
ganist of  Waltham  Abbey,  and  later  tenor 
singer  in  the  Temple,  Westminster  Abbey, 
and  the  Chapel  Royal.  He  is  professor  of 
singing  in  the  Royal  College  for  the  Blind, 
Norwood,  London.  Works :  The  Fairy 
Ring,  cantata  ;  Te  Deum,  Jubilate,  Sanc- 
tus,  etc.,  in  D  ;  O  Lord,  give  ear,  anthem  ; 
Glees  ;  Songs  ;  Part  songs,  etc.  He  is  the 
author   also   of   The  Rudiments  of  Music 


(London,  1877) ;  Pureell,  in  Great  Musi- 
cians' series  (ib.,  1882) ;  and  contributions 
to  English  musical  history. 

CUNIEWICZ,    ,    Polish     composer, 

contemporary.  He  is  the  author  of  a  cele- 
brated lyric  and  symphonic  work  entitled  : 
La  Captivite  Babylonienne,  produced  at 
Lemberg,  Feb.  3,  1867.  This  important 
work  was  divided  into  six  parts,  as  follows  : 
Aux  fleuves  de  Babyloue  ;  La  jjriere  ;  Les 
orphelins  de  la  Judee  ;  Choeur  des  pru- 
tres ;  Le  depart ;  L'arrivee  au  pays  de  la 
Judee.— Fotis,  Supplement,  i.  220. 

CUPIS,  JEAN  BAPTISTE,  born  in  Paris 
in  1741,  died  (?).  Violoncellist,  pupil  of 
his  father  and  of  Berteau.  When  twenty 
years  old  he  was  one  of  the  ablest  violon- 
cellists in  France.  He  left  the  orchestra  at 
the  Opera  in  1771,  and  after  travelling  in 
Germany,  went  to  Italy,  where  he  married 
the  celebrated  singer  Giulia  Gaspariui,  and 
went  with  her  in  179-1  to  Milan.  Works  : 
Premier  concerto  pour  violoncelle,  avec 
accomj)agnement  d'orchestre  ;  Deuxieme 
concerto.  Air  de  I'Aveugle  de  Palmyre  et 
menuet  de  Fischer,  varies  pour  le  violon- 
celle avec  deux  violons,  alto,  basse,  deux 
hautbois,  et  deux  cors ;  Petits  airs  varies 
pour  2  violoncelles,  Nos.  1  a  3  (posthumous, 
Paris) ;  Methode  nouvelle  et  raisonnee  pour 
apprendre  a  jouer  du  violoncelle,  oil  Ton 
traite  de  son  accord,  de  la  maniere  de  tenir 
cet  instrument,  etc.  (Paris). — Fetis  ;  Men- 
del. 

CUPRE,  JEAN  DE,  French  composer  of 
madrigals,  living  at  Heidelberg  at  the  be- 
ginning of  the  17th  century.  He  published : 
Livre  premier,  contenant  treute  madrigals 
a  cinq  voix,  nouvellement  mises  en  lumiere 
par  Jean  Cupre,  nuisicien  et  maistre  d'es- 
chole  au  Palatinat,  a  Heidelberg  (Frankfort- 
on-the-Main,  1610).— Fetis  ;  Mendel. 

C!URCI,  GIUSEPPE,  born  in  Barletta, 
Italy,  June  5,  1808,  still  living,  1888.  Pu- 
pil at  the  Conservatorio  of  Naples  from 
1823  ;  studied  harmony  under  G.  Furno, 
counterpoint  and  fugue  under  Raimondi 
and  Zingarelli,   and   singing  under   Cres- 


300 


CUiiCIO 


ceutini.  While  at  the  Conservatorio  he 
wrote  two  masses  for  four  voices  aud  or- 
chestra ;  two  operettas,  Un'  ora  di  prigione 
and  II  matriuiouio  eonchiuso  per  le  bugia, 
played  at  the  Conservatorio  Theatre  ;  an 
opera  bufla,  H  medico  e  la  morte,  performed 
in  1833  at  the  Teatro  Nuovo  ;  another,  I 
dodici  Tabarri,  in  1833,  at  the  Teatro  del 
Fondo  ;  and  composed  a  cantata,  Kuggiero, 
for  a  grand  gala  representation  at  the  San 
Carlo,  Jan.  1,  1835.  On  leaving  the  Con- 
servatorio, he  went  to  Milan,  then  to  Turin, 
where  he  brought  out  II  jn-oscritto,  1837;  to 
Venice,  where  lie  gave  Don  Desiderio,  aud 
L'  Uragano,  a  scena  played  by  the  Societii 
Filarmonica.  He  lived  several  years  at  Vi- 
enna, where  he  became  famous  as  a  profes- 
sor of  singing,  ti-avelled  in  Germany  and 
Belgium,  and  resided  in  Paris  from  1848  to 
1856,  when  he  returned  to  Barletta.  Other 
works  :  Six  masses  for  three  or  four  voices 
with  organ,  quartet,  and  orchestra ;  over 
sixty  religious  compositions  with  organ  or 
orchestra  ;  Funeral  mass  for  three  voices  and 
orchestra ;  Piccolo  solfeggio,  II  Bel  Canto, 
two  collections  of  solfeggi,  etc. — Fotis,  Sup- 
pk>ment,  i.  221  ;  Mendel,  Ergiinz.,  72. 

CURCIO,  VINCENZO,  born  iu  Naples, 
lived  iu  the  second  half  of  the  18th  century. 
He  was  the  author  of  an  opera,  I  sciocchi 
presuntuosi,  given  at  Naples  in  1776. — Fc- 
tis.  Supplement,  i.  221. 

CUmOSO  INDISCRETO,  IL,  Italian 
opera,  music  by  Anfossi,  first  given  at 
Milan  in  1778.  On  its  performance  in 
Vienna  in  1783,  Mozart  added  three  new 
songs  to  it  (KOchel,  418,  419,  420),  two  for 
Madame  Lange  and  one  for  Adamberger. 
The  last  one  was  not  sung.  An  Italian 
opera  of  the  same  title,  music  by  Gherar- 
desca,  was  given  at  Lucca  in  1764. 

CUESCHMANN,  KARL  FRIEDRICH, 
born  in  Berlin,  June  21,  1805,  died  at 
Langfuhr,  near  Dantzic,  Aug.  24,  1841. 
Tenor  singei-,  pupil  at  Cassel  of  Spohr  and 
Hauptmann  in  harmony  and  comjiosition 
for  four  years  ;  settled  in  Berlin  and 
made  occasional  concert  tours  in  Germany, 


France,  and  Italy.  He  was  the  favorite  song 
writer  before  Schumann,  and  his  Lieder 
are  full  of  melody,  and  rather  superior 
to  other  compositions  of  his  time.  Some 
of  them  are  still  great  favorites,  which  speaks 
well  for  their  intrinsic  merit.  His  collect- 
ed Lieder  comprise  eighty-three  solos  and 
nine  songs  in  two  and  three  jjarts  (Berlin, 
1871).  His  song.  In  every  opening  flower, 
and  his  trios,  Ti  prego,  and  Atldio,  have 
always  been  popular.  He  composed  also 
two  canons  for  three  voices,  op.  7  (Berlin)  ; 
Romeo,  scena  and  aria,  op.  6  ;  and  an  opei-a, 
Abdul  und  Erinuieh,  given  at  Cassel  about 
1825. — Fetis  ;  Ledebur,  Toidiiinstler  Lexi- 
kon  Berlins  ;  Mendel  ;  Schilling. 

CURTI,  VINCENZO,  born  in  Naples, 
Sept.  18,  1836,  still  living,  1888.  Pianist, 
pupil  at  the  Naples  Conservatorio  of  Fran- 
cesco Lanza,  Alessandro  Busti,  and  Viuceuzo 
Fiodo.  He  has  written  two  masses,  two  al- 
bums of  vocal  melodies,  three  albums  of 
dance  music,  and  a  number  of  transcriji- 
tions  and  arrangements  for  the  pianoforte. 
— Fetis,  Supplement,  i.  221. 

CUSINS,  WILLIAM  GEORGE,  born  in 
L  o  n  d  o  n  ,    Oct.    14, 


1833,  still  living, 
1888.  He  entered 
the  Chapel  Royal  in 
his  tenth  year,  and 
studied  the  piano- 
forte,  violin,  and  har- 
mony at  the  Brussels 
Conservatoire,  in 
1844,  under  Fetis. 
In  1847  he  gained  the 
King's  Scholarship  at 
the  Royal  Academy 
which  was  prolonged  in  1849  for  two  years. 
He  made  his  first  appearance  as  a  pianist 
and  his  debut  as  a  composer,  in  an  over- 
ture, in  1849,  and  became  organist  of  the 
Queen's  private  chapel  and  a  violinist  iu 
the  orchestra  of  the  Royal  Italian  Oi^era. 
In  1851  he  became  assistant  professor  of 
the  pianoforte  at  the  Royal  Academy  of 
Music,  and  later  full  professor,  and  in  1867 


of    Music,    London, 


381 


CUSTAED 


conductoi"  of  the  Philbarmonic  Society  in 
place  of  Sterndale  Beuuett.  He  was  ajj- 
pointed  master  of  music  to  the  Queen  in 
1870  ;  in  1875  succeeded  Bennett  as  ex- 
amining professor  at  Queen's  College  ;  and 
in  1876  became  joint  examiner  of  scholar- 
ships for  the  National  Training  School  of 
Music,  with  Mr.  HuUah  and  Otto  Gold- 
schmidt.  In  1885  he  became  professor  in 
Trinity  College  and  in  the  Guildhall  School 
of  Music,  London.  Works  :  Eoyal  Wed- 
ding Serenata  (1863)  ;  Gideon,  oratorio, 
given  at  Gloucester  in  1871  ;  2  concert 
overtures  for  full  orchestra  ;  Travailleurs  de 
la  Mer  (1869)  ;  Love's  Labour's  Lost  (1875)  ; 
Pianoforte  concerto  in  A  minor  ;  Te  Deum 
for  soli,  chorus,  and  orchestra,  1880  ;  Trio 
for  pianoforte,  violin,  and  violoncello  ; 
Songs;  Pianoforte  music,  etc. — Grove; 
Eiemann. 

CUSTARD,  WALTER  GOSS,  born  in 
England,  June  9,  1811,  still  living,  1888. 
Organist,  articled  to  Sir  George  Elvey, 
Chapel  Royal,  Windsor,  1857  ;  oi-ganist  of 
Spring  Grove  Cluirch,  Isleworth,  1861,  and 
of  Christ  Church,  St.  Leonards-on-Sea, 
1865.  Works:  Office  of  the  Holy  Com- 
munion in  E-flat  ;  Choral  Service  in  D  ; 
Te  Deum  in  F  ;  Benedictus  in  F  ;  12  stud- 
ies for  pianoforte,  1879  ;  Agiuis  Dei  and 
Benedictus,  1880  ;  Communion  Office  in  F, 
1881  ;  Songs ;  Pianoforte  music,  etc. 

CUTLER,  WELLLVM  HENRY,  bom  in 
London  in  1792,  died  (?).  Pianist,  pupil  of 
Little  and  Griffin,  and  in  singing  of  Dr.  Ar- 
nold. In  1803  he  became  a  chorister  at  St. 
Paul's  Cathedral,  and  studied  afterwards 
with  William  Russell.  He  received  the  de- 
gree of  Mus.  Bac.  at  Oxford  in  1812  ;  be- 
came organist  of  St.  Helen's,  Bishopsgate, 
in  1813,  and  of  Quebec  Chapel,  Portman 
Square,  London,  in  1823.  His  works  com- 
prise a  service,  several  anthems  and  songs, 
and  numerous  pianoforte  pieces. — Grove  ; 
Fetis  ;  Mendel. 

CUVELIERS,  JEAN  LE,  born  at  Arras, 
about  1230,  died  (?).  Poet  and  composer 
of  chansons,  of  which  six  only  are  extant. 


Two  of  these  are  in  the  MS.  department  of 
the  National  Library,  Paris,  the  other  four 
are  among  the  manuscripts  of  the  Vatican 
Library,  Rome. — Fetis. 

CYBULOWSKY,  LUCAS,  dii-ector  of  the 
choir  at  the  diaconal  church  at  Prague,  in 
1617.  He  is  known  in  Bohemia  as  the 
composer  of  a  great  deal  of  church  music, 
such  as  graduals,  offertories,  etc.,  preserved 
in  many  Bohemian  churches  in  the  original 
MSS.— Fetis ;  MendeL 

CYMON,  English  dramatic  romance,  text 
by  David  Garrick,  music  by  Michael  Arne, 
represented  at  Drury  Lane  Theatre,  Lon- 
don, in  1767.  It  was  long  popular,  and 
gave  the  composer  a  considerable  reputa- 
tion.— Hogarth,  ii.  102. 

CYRUS.     See  Ciro. 

CYTEEIK,  ALOIS,  born  in  Prague, 
Nov.  19,  1826,  still  living,  1888.  Pianist, 
pupil  of  Dreyschock,  and  of  Toniaschek  in 
composition  ;  appeared  iirst  in  concerts  in 
his  native  city,  1851,  then  in  Hung!iry, 
Transylvania,  and  Wallachia  with  great  suc- 
cess, 1852  ;  after  his  return  he  made  a  con- 
cert tour  through  Bohemia  and  Saxony, 
and  has  since  lived  at  Prague,  teaching  the 
pianoforte.  Works :  Concerto  for  piano- 
forte and  orchestra ;  Introduction  and 
Rondo  for  do.  ;  Andante  and  Rondo  for 
pianoforte  and  violoncello  ;  Trio  for  piano- 
forte, violin,  and  violoncello  ;  2  sonatas, 
and  many  pieces  in  modern  style,  for  piano- 
forte ;  Songs. — Mendel. 

CZAR  UND  ZIMMERMANN  (Czar  and 
Carpenter),  German  comic  ojjera  in  three 
acts,  text  and  nuisic  by  Lortziug,  first  rep- 
resented in  Berlin  in  1854.  Scene  in  Hol- 
land. Peter  the  Great,  under  the  pseudo- 
nym of  Peter  Michaelhoff,  and  Peter  Ivan- 
hoff,  a  Russian  deserter,  are  working  as 
cai'penters  in  a  shijjyard  at  Saardam.  The 
plot  turns  on  the  efforts  of  the  English  and 
French  ambassadoi's  to  penetrate  the  Czar's 
disguise,  and  is  complicated  by  the  con- 
founding of  the  two  Peters.  At  the  close 
the  Czar  sails  away,  leaving  Ivanholf,  who 
has  beau  enjoying  a  regal  reception  from 


CZAr.TII 


tlie  people  of  Saardatn,  in  a  good  position, 
witli  the  royal  consent  to  his  marriage 
with  Marie,  the  niece  of  the  Burgomaster. 
The  libretto  is  uninteresting  and  the  music 
light,  but  the  opera  has  been  very  success- 
ful in  Germany  and  in  Russia.  An  English 
version,  entitled  Peter  the  Shipwright,  was 
played  at  the  Gayety  Theatre,  London, 
April  15,  1871. 

CZARTH  (Schardt,  Zarth),  GEORG, 
born  at  Deutschbrod,  Bohemia,  in  1708, 
died  in  Mannheim,  in  1771.  Violinist,  pu- 
pil of  Timnier  and  Rosetti  on  the  violin, 
and  of  Biarelli  on  the  flute.  He  entered 
the  service  of  the  Starost  Suchaczewski  at 
Warsaw,  was  admitted  to  the  Chapel  Royal 
of  the  King  of  Poland  in  1733,  and  in  1731 
entered  the  orchestra  of  the  Prince  Royal 
of  Prussia,  with  whom  he  went  in  1740  to 
Berlin,  ou  his  accession  to  the  throne.  In 
1760,  he  went  to  Mannheim,  as  violinist  in 
the  chapel  of  the  Elector  Palatine.  Besides 
many  concertos,  trios,  solos,  and  sympho- 
nies, left  in  MS.,  he  published  six 
solos  for  the  flute,  and  as  many 
for  the  violin. — Fotis  ;  Mendel. 
CZEK.  See  Gech. 
CZERMAK  See  dermak. 
CZERNY,  D0:\1INIC,  JOS- 
EPH, and  SANCTUS.  See 
()ern>% 

CZERNY,  (Cerny'),  CARL,  born  in 
enna,  Feb.  21,  1791,  died  there,  July 
1857.  Pianist,  pupil  of  his  father  Wencezclas 
Czerny,  pianist,  of  Beethoven,  and  of  de- 
menti. Beethoven,  who  offered  to  teach  him 
and  became  his  ardent  friend,  introduced 
liim  to  his  patron,  Prince  Lichuowsky,  whose 
friendship  was  of  great  service  to  Czerny. 
In  1804  he  made  preparations  for  a  profes- 
sional tour,  but  abandoned  it  on  account  of 
the  unsettled  state  of  the  continent,  and 
devoted  himself  from  that  time  to  teaching 
and  composition.  Among  his  pupils  were 
Liszt,  Thalberg,  DOhler,  Mme  Oury,  and 
many  other  well-known  musicians.  His 
first  published  work  :  "Variations  concer- 
tantes,  for  pianoforte  and  violin,  appeared 


in  1805,  and  Rondo  brillant,  for  four 
hands,  in  1818.  From  that  time  he  had 
difficulty  in  keeping  pace  with  the  demands 
of  the  jjublishers. 
His  printed  com- 
j)ositions  amount 
to  nearly  one 
thousand,  of  which 
many  consist  of 
fifty  or  more  num- 
bers. His  piano- 
forte compositions  ' 
may  be  divided 
into  three  classes, 
scholastic,  solid, 
and  brilliant ;  the  best  of  which  are  \m- 
doubtedly  the  scholastic,  op.  299,  300,  335, 
399,  400,  and  600,  published  under  the 
title  of :  Complete  Theoretical  and  Practi- 
cal Pianoforte  School,  3  vols.  Besides  his 
printed  works,  which  embrace  every  species 
of  composition  for  pianoforte,  he  left  an  enor- 
mous mass  of  MS.,  now  in  the  archives  of 


yOi/(^-^«^" 


Vi- 
15, 


the  Gesellschaft  der  Musik-Freunde,  Vienna. 
Tliese  comprise  :  24  masses,  4  requiems, 
300  graduals  and  offertories,  symphonies, 
overtures,  concertos,  string  trios  and  quar- 
tets, choruses,  songs  for  one  or  more-voices, 
and  even  pieces  for  the  stage.  His  book  : 
XJmriss  der  ganzen  Musikgeschichte,  was 
publi-shed  by  Schott,  of  Mainz  (1851)  ;  and 
by  Ricordi,  of  Milan.— Fetis  ;  IMendel  ;  Rie- 
mann  ;  Schilling  ;  Wurzbach. 

CZERWmSKY,  WILHEL3I,  born  in 
Vienna,  1838,  still  living,  1888,  at  Lemberg, 
Galicia.  Pianist,  pupil  of  Fischhof,  Hell- 
mesberger,  the  elder,  von  Mikuli,  and  Notte- 
bohm.  Works  :  Slowirek  (singing  bird), 
operetta,  given  at  Lemberg,  1875  ;  Sym- 
phony ;  String  quartets  ;  Pianoforte  pieces, 


CZEYKA 


choruses,  aud  songs.  —  Mendel,  Ergiiuz., 
73. 

CZEYKA.     See  6ejka. 

CZIBULKA,  ALPHONS,  born  at  Szepes- 
Varallya,  Hungary,  May,  14,  1842,  still  liv- 
ing, 1888.  Pianist,  studied  at  Pressburg 
aud  in  Vienna,  then  went  as  pianist  to  Rus- 
sia. In  1865  he  became  Kapellmeister  at 
the  Carl  Theater  in  Vienna,  and  in  1866, 
upon  his  own  application,  in  the  17th  regi- 
ment of  infantry,  with  which  he  made  the 
camjjaign  iu  Italy  ;  afterwards  in  the  same 
capacity  in  the  25th  regiment  at  Prague  ; 
he  is  now  Armee-Kapellmeister  in  Vienna, 
His  dance-music  enjoys  great  favor.  He 
is  author  of  an  operetta  :  Pfingsten  in  Flor- 
enz,  1884. — Mendel,  Ergauz.,  73  ;  Kiemann. 


DAASE,  RUDOLF,  born  in  Berlin,  Feb. 
21,  1822,  still  living,  1888.  Pupil 
of  Streit  and  Braune  on  the  violin, 
of  Kilitschgy  on  the  pianoforte,  and  of 
Eduard  Wilsing,  A.  W.  Bach,  and  Marx  in 
theorj'  and  composition.  He  teaches  music 
in  Berlin,  where  he  is  a  conductor,  aud  has 
composed  many  dances,  mai'ches,  and  similar 
works  for  special  occasions,  also  pianoforte 
pieces,  aud  four-part  songs  for  male  voices. 
In  1885  he  received  the  great  gold  medal, 
of  Austria,  for  art  and  science. — Mendel. 

DACHSTEIN,  WOLFGANG,  lived  in 
the  16th  century.  He  was  a  priest  of  Stras- 
burg,  but  adopted  the  reformed  religion  iu 
1524,  married,  and  became  organist  aud 
vicar  of  the  church  of  St.  Thomas,  Stras- 
burg.  He  composed  the  chorals  :  An  Wus- 
serjlilsaeii  Babylon  ;  Ach  Gott,  wie  lang  ; 
Aus  tiefer  Noth  ;  Ich  glaub  ;  Darum  red'  ich, 
etc.— Fetis  ;  Mendel  ;  SchillinLr,  Sup.,  88. 

DACOSTA  (da  Costa),  ISAAC  FRANCO, 
born  at  Bordeaux,  France,  Jan.  17,  1778, 
died  there,  July  12,  1866.  Clarinetist,  first 
instructed  by  his  father,  then  (1797)  pupil 
of  Xavier  Lefcvre  at  the  Paris  Conservatoire, 
where  he  took  the  first  prize  in  1798.  He 
held  positions  in  the  orchestras  of  different 
theatres  aud  of  the  Opera  until  1842,  when 


he  retired  to  his  native  citj'.  Works :  4 
concertos  for  clarinet,  with  orchestra  ;  Con- 
certino ;  Fautaisies  aud  themes  varies  ;  Ro- 
mances.— Fetis  ;  Mendel  ;  Schilling. 

DAFNE,  pastoral  drama  by  Ottavio  Rinuc- 
cini,  music  by  Jacopo  Peri,  privately  per- 
formed in  the  Palazzo  Corsi,  Florence,  1597. 
This  was  the  first  true  opera  ever  put  ujjou 
the  stage.  Peri  himself  took  the  j)art  of 
Apollo.  The  music,  now  lost,  was  in  the 
style  then  believed  to  be  identical  with  that 
cultivated  by  the  Greek  tragedians.  It  was 
never  performed  in  public.  Dafne,  Italian 
opera,  music  by  Marco  da  Gagliano,  was 
represented  iu  1607,  at  the  marriage  of  the 
Duke  of  Mantua  with  the  daughter  of  the 
Duke  of  Savoy  ;  Italian  oj^era,  music  by 
Ariosti,  Venice,  1686 ;  music  by  Aldovrau- 
dini,  Bologna,  1696  ;  music  by  Baron  As- 
torga,  Vienna,  1705  ;  music  by  Pollarolo, 
Venice,  1705.  Daphue,  text  translated  from 
Rinuccini  by  Martin  Opitz,  music  by  Hein- 
rich  Schiitz,  produced  under  the  ausi^ices 
of  the  Elector  Joliaun  Georg  I.,  at  the  pal- 
ace of  Torgau,  April  13,  1627,  was  the  first 
ojiiera  written  by  a  German  and  the  first 
ever  performed  in  Germany.  Florindo  uud 
Daphne,  German  opera,  text  by  Hiusch  (in 
two  parts,  the  first  entitled  F'lorindo),  music 
by  Haudel,  given  at  Hamburg,  1706.  Dapli- 
ne,  music  by  J.  D.  Hensel,  Goldberg,  1799. 
Apollo  and  Daphne,  English  opera,  music 
by  Pepusch,  London,  1716  ;  music  by  Gal- 
liard,  Loudon,  1726.  Apollon  et  Daphue, 
French  opera,  text  byPitra,  music  by  Anton 
Mayer,  Paris,  1782.  Gli  amori  d'  Apolline 
e  di  Dafne,  music  by  Cavalli,  Venice,  1640. 

DAHL,  E:\BIA,  born  (Freyse),  ai.  Plon, 
Holsteiu,  April  6,  1819,  still  living,  1888. 
Dramatic  singer  and  vocal  composer, 
adopted  daughter  and  pupil  of  Baroness  vou 
Natorp  (Marianne  Sessi)  ;  made  her  debut 
as  Agathe  iu  Der  Fi-eischiitz  at  the  Royal 
Opera  in  Berlin,  and  sang  with  gi-eat  success 
on  the  stages  of  Breslau,  Leipsic,  Schwerin, 
etc.  Ilaviug  declined  an  engagement  as 
prima  donna  at  Copenhagen,  and  afterwards 
at  Stockholm,  she  married  in  1841  the  book- 


381 


DAI 


seller  Dab],  at  Christiania,  and,  save  oue 
year  in  Paris,  where  she  studied  under 
Garcia,  has  since  lived  in  Norway.  She 
has  composed  many  songs,  distinguished 
for  pleasing  melody  and  natural  sentiment, 
which  are  popular  in  the  Scandinavian  king- 
doms.— Mendel. 

DAI  CAJVIPI,  DAI  PRATI.  See  Mefido- 
fele. 

DALAYEAC,  NICOLAS  (properly 
dAlayrac),  born  at 


Muret  (Languedoc), 
June  13,  17.53,  died 
in  Paris,  Nov.  27, 
1809.  His  father, 
who  held  a  high 
civil  ajipointment 
iu  his  jjrovince,  had 
a  horror  of  music, 
and  the  young 
Dalayrac's  early 
youth  was,  like  that  of  many  artists,  a  series 
of  struggles  against  parental  authority. 
He  was  destined  for  the  bar,  but  was  at 
one  time  allowed  to  take  violin  lessons,  a 
l^ermission  soon  withdrawn,  as  his  music 
was  found  to  take  too  much  time  from  his 
legal  studies.  But  the  boy  persisted  in 
practising  in  secret,  climbing  up  on  to  the 
roof  by  night  for  that  purpose.  The  noise 
of  his  violin  disturbed  the  nocturnal  devo- 
tions of  the  nuns  in  a  convent  liard  by  ; 
they  reported  his  secret  playing  to  his 
father,  who,  touched  by  the  lad's  persever- 
ance, allowed  him  to  jjursue  his  musical 
exercises  unhindered  in  future,  and  even 
permitted  him  to  give  up  all  thoughts  of 
a  legal  cai-eer.  In  1774  he  got  a  commis- 
sion in  the  Guards  of  the  Comte  dArtoi-s, 
and  went  to  Paris.  Here  his  military 
duties  were  neglected,  as  his  legal  studies 
had  been  before  ;  as  soon  as  he  got  to  the 
capital  he  began  to  study  harmony  under 
Langle.  Langle  was  his  only  regular 
teacher,  but  he  benefited  much  by  the 
advice  of  Grc'ti-y,  whose  study  he  used  to 
frequent  far  more  than  that  great  man's 
own  pupils  did.      His  dt-but  as   dramatic 


composer  was  not  long  in  following,  and  in 
1781  his  first  comic  opera,  "  Le  petit  sou- 
per,"  was  given  with  great  success  at  the 
French  Court.     He  was  soon  recognized  as 
one  of  the  most  fertile  composers  of  the 
day,  and  continued  writing  operas  at  the 
rate  of  one  or  two  a  year  for  the  remainder 
of  his  life,  even  the  horrors  of  the  Reign  of 
Terror  being  insufficient  to    interrupt   his 
productiveness.     In  1790  the  failure  of  the 
banking  house  of  Savalette  de  Lange  swept 
away  the  savings  of  ten  years,  but  Dalayrac 
nevertheless  annulled  his  father's  will  which 
made  him  sole  heir,  to  the  exclusion  of  a 
younger  brother.     In    1798   he  was   made 
member    of  the   Academy   of    Stockholm, 
and,  on  the  establishment  of  the  order  of 
the  Legion  of  Honour,  some  years  later,  he 
was  made  chevalier.     He  was  buried  in  his 
garden  at  Fontenay-sous-Bois.      His  bust, 
by  Cartellier,  stands  in   the  lobby  of  the 
Opera  Comique.     Dalayrac's  name  is  one 
of  the  more  imjjortant  ones  in  the  historj' 
of  French  opera.     He  was  one  of  tlie  fore- 
runners of  Auber  and  Boieldieu.     He  was 
particularly  at  home  in  the  smaller  forms 
of  comic  opera  ;    his  melody  is  graceful, 
natural,    and    often    piquant,    although   at 
times  trivial.    In  command  of  the  orchestra 
he  was  quite  up  to  the  average  of  his  time  ; 
his  sense  of  dramatic  fitness  was  very  keen. 
Some  of  his  songs  and  ensemble   pieces, 
although   they   have   quite  passed   out   of 
public  notice,  are  still  to  be  regarded  as 
models.     Works :  1,  L'eclipse  totale,  1  act, 
Paris,  Comedie  Italienne,  Mar.  7,  1782  ;  2, 
Le  corsaire,  3  acts,  ib.,  March  17,  1783  ;  .3, 
Les  deux  tuteurs,  2  acts,  ib..  May  8,  1784 
(originally  given  at  court  as  Les  deux  sou- 
pers ;  afterwards   cut   down   to   1  act)  ;  4, 
Tiamaiit  statue,  1  act,  ib.,  Aug.  4,  1785  ;  5, 
La  dot,  3  acts,  ib.,  Nov.  21,  1785  ;  6,  Nina, 
ou  la  foUe  par  amour,  1  act,   ib.,  May  15, 
1786 ;    7,  Azemia,  ou  les  sauvages,  3   acts, 
ib..  May  3  or  4,  1787  (first  given  in  Decem- 
ber, 1786,    at   court,  at  Fontainebleau,  as 
Le  nouveau  Robinson,  and   much   remod- 
elled for  the  Paris  jjerformauce)  ;  8,  Benaud 


DALAYKAC 


cl'Ast,  2  acts,  ib.,  July  19,  1787  ;  9,  Les 
deux  serenades,  2  acts,  ib.,  Jan.  23,  1788  ; 
10,  Sargiues,  ou  Televe  de  I'amour,  i  acts, 
ib..  May  14,  1788  ;  11,  Fauchette,  2  acts,  ib., 
Oct,  13,  1788  ;  12,  Les  deux  petits  Savoy- 
ards, 1  act,  ib.,  Jan.  14,  1789  ;  13,  Raoiil, 
sire  de  Crequi,  3  acts,  ib.,  Oct.  31,  1789  ; 
14,  La  soiree  orageuse,  1  act,  ib..  May  29, 
1790 ;  15,  Le  cbene  jjatriotique,  2  acts,  ib., 
July  10,  1790  ;  16,  Vert-vert,  1  act,  ib., 
Oct.  11,  1790  ;  17,  Camille,  ou  le  souter- 
rain,  3  acts,  ib..  Mar.  19,  1791 ;  18,  Agues 
et  Olivier,  3  acts,  ib.,  Oct.  10,  1791  ;  19, 
Philippe  et  Georgette,  1  act,  ib.,  Dec.  28, 
1791  ;  20,  Tout  pour  I'amour,  ou  Juliette 
et  Eomeo,  ib.,  July  G,  1792  ;  21,  Ambroise, 
ou  voila  ma  journee,  1  act,  ib.,  Jan.  12, 
1793 ;  22,  Asgill,  ou  le  prisounier  de 
guen-e,  1  act,  ib.,  May  1,  1793  ;  23,  TJr- 
gande  et  Merlin,  3  acts,  ib.,  Oct.  4,  1793  ; 
24,  La  prise  de  Toulon,  1  act,  Theatre 
Feydeau,  Feb.  1,  1794  ;  2.5,  Le  congres  des 
rois  (with  ten  other  composers),  3  acts. 
Theatre  Favart  (Comedie  Italienne),  Feb. 
20,  1794  ;  2G,  L'enfauce  de  J.  J.  Rousseau, 

1  act,  ib.,  May  23,  1794  ;  27,  Le  detenu,  ou 
Cange,  commissionnaire  de  Lazare,  1  act, 
Nov.  18,  1794  ;  28,  La  pauvre  femme,  1 
act.  Theatre  Favart,  April  8,  1795  ;  29, 
AdUe  et  Dorsan,  8  acts,  ib.,  April  27,  1795  ; 
30,  Marianue,  1  act,  ib.,  July  7,  1796  ;  31, 
La  maison  isolee,  ou  le  vieillard  des  Vosges, 

2  acts,  ib..  May  11,  1797  ;  32,  La  leron,  ou 
la  tasse  de  glace,  1  act.  Theatre  Feydeau, 
May  24,  1797  ;  33,  Gulnare,  ou  I'esclave 
persane,  1  act,  Theatre  Favart,  Jan.  9, 
1798  ;  34,  Alexis,  ou  I'erreur  d'uu  bon  pere, 
1  act.  Theatre  Feydeau,  Jan.  24,  1798  ; 
35,  Leon,  ou  le  Chateau  de  Mouteuero,  3 
acts,  Theatre  Favart,  Oct.  15,  1798;  36, 
Adolphe  et  Clara,  ou  les  deux  prisonniers, 
1  act,  ib.,  Feb.  10,  1799  ;  37,  Laure,  ou 
I'actrice  chez  elle,  1  act,  ib.,  Sept.  26,  1799  ; 
38,  Arnill,  ou  le  prisonnier  americain,  1  act, 
(remodelled  version  of  No.  22,  Asgill,  etc.), 
ib.,  Nov.  22,  1799  ;  39,  Le  rocher  de  Leu- 
cade,  1  act,  ib.,  Feb.  13,  1800  ;  40,  Une 
matinee  de  Catinat,    ou  le  tableau,  1  act, 


Theatre  Feydeau,  Sept.  28,  1800  ;  41,  Mai- 
aon  a  vendre,  1  act.  Theatre  Favart,  Oct. 
22,  1800  ;  42,  Lehemau,  ou  la  tour  de  Neu- 
stadt,  3  acts.  Opera  Comique,  Dec.  11,  1801 ; 
43,  L'  antichambre,  ou  les  valets  maitres,  1 
act,  ib.,  Feb.  26,  1802  ;  44,  La  boucle  de 
cheveux,  1  act,  ib.,  Oct,  27,  1802  (fiasco, 
but  remodelled  and  brought  out  with  suc- 
cess, Nov.  23)  ;  4.5,  Picaros  et  Diego,  ou  la 
folle  soiree,  1  act,  ib..  May  2,  1803  (remod- 
elled version  of  No.  43,  L'antichambre,  etc., 
which  was  suppressed  after  first  perform- 
ance for  political  reasons)  ;  46,  La  jeune 
prude,  ou  les  femmes  entre  elles,  1  act,  ib., 
Jan.  14,  1804  ;  47,  Une  heure  de  mariage, 
1  act,  ib.,  Mar.  19,  1804  ;  48,  Le  pavilion 
du  Calife,  2  acts.  Opera,  April  11,  1804  ; 
49,  Gulii<tan,  ou  Hulla  de  Samarcande,  3 
acts,  Opera  Comique,  Sept.  29,  1805  ;  50, 
Deux  mots,  ou  une  nuit  dans  la  foret,  1  act, 
ib.,  June  9,  1806  ;  51,  Koulouf,  ou  les  Chi- 
nois,  3  acts,  ib.,  Dec.  18,  1806 ;  52,  Lina,  ou 
le  mystere,  3  acts,  ib.,  Oct.  8,  1807  ;  53, 
£lise-Hortense,  ou  les  souvenirs  de  I'en- 
fanee,  1  act,  ib.,  Oct.  25,  1809  ;  54,  Le  poete 
et  le  musicien,  ou  je  cherche  uu  sujet,  3 
acts,  ib.,  May  30,  1811  (posthumous) ;  55, 
Le  pavilion  des  fleurs,  ou  les  pecheurs  de 
^      •  Grenade,    1    act, 

-l^^eiy^h^U-^^ ^  ib.,  May  13,  1822 

'  (posthumous,  re- 

modelled version  of  No.  48,  Le  pavilion 
du  Calife).  Dalayrac  wrote  also  some 
songs  for  Colin  d'Harleville's  comedy,  Rose 
et  Picard,  Comedie  Frangaise,  1794  or  '95. 
According  to  Pixerecourt,  he  left  two  un- 
published comic  operas :  Le  heros  en 
voyage,  and  Zozo,  ou  le  mal  avise. — R.  C. 
G.  P.  (Rene-Charles-Guilbert  Pixerecourt), 
Vie  de  Nicolas  Dalayrac  (Paris,  1810) ; 
Adolphe  Adam,  Derniers  Souvenirs  d'un 
musicien  (Paris,  1859)  ;  Series  of  articles 
by  Amedee  de  Bast,  entitled  Nicolas 
D'Alayi-ac,  in  La  Guienne,  newspaper  (Bor- 
deaux, May  2,  3,  4,  5,  6,  7,  8,  9,  1865)  ; 
Alexandre  Fourgeaud,  Les  Violons  de  Da- 
layrac (Paris,  1856) ;  Clement,  Mus.  cele- 
bres,  192  ;  Pamphlet  entitled :  Eeponse  de 


DALBEKG 


Daleyrac  u  MM.  les  directeurs  de  specta- 
cles, ix'clamant  contre  deux  docrets  de  I'as- 
semblee  natiouale  de  1789,  lue  au  coinito 
d'instruetiou  publique,  le  26  decembre  1791 
(Paris,  1791). 

DALBERG,  Barou  JOHANN  FRIED- 
RICH  HUGO  VON,  boru  at  Ascbatteuburg, 
May  17,  1752,  died  there,  July  26,  1812. 
Instrumental  aud  vocal  composer,  pianist, 
and  writer  on  music,  pujjil  of  Holzbauer  at 
Mannheim.  He  was  a  brother  of  Karl  The- 
odor  von  Dalberg,  Prince-primate  of  the 
Confederation  of  the  Rhine,  and  was  coun- 
sellor to  the  Elector  of  Treves  at  Coblentz, 
aud  canon  of  Worms.  He  is  best  known 
by  his  writings  on  music,  containing  many 
interesting  historical  facts  concerning  mu- 
sic among  the  Persians,  Indians,  Arabs, 
Chinese,  aud  other  nations.  Works  :  Eva's 
Klage,  cantata  (Speyer,  1785)  ;  Der  ster- 
beude  Christ  an  seine  Seele,  do.  (Leipsic, 
1787)  ;  Das  Saiteuspiel,  do.,  sung  at  Gotha, 
1796  ;  Beatrice,  English  cantata  (London)  ; 
Quartets  for  pianoforte,  oboe,  horn,  and 
bassoon  ;  Trios  for  pianoforte,  violin,  and 
violoncello  ;  Several  books  of  sonatas  for 
piauoforte  ;  German,  French,  and  English 
songs,  canons,  and  other  music. — Fetis ; 
Gerber  ;  Mendel ;  Schilling. 

DALLA  BELLA,  DO:\IENICO,  Italian 
contrapuntist,  lived  in  the  first  half  of  the 
18th  century  ;  maestro  di  cajipella  of  the 
cathedral  at  Treviso.  Of  his  manuscripts 
the  Imperial  Librarj'  at  Vienna  preserves : 
Masses  for  three,  four,  and  eight  voices,  a 
Salve  Regina,  a  Kyrie,  and  Gloria,  a  Te 
Deum,  a  Veni  Creator,  etc. 

DALL'ARGINE,  COSTANTINO,  born 
in  1843,  died  in  Milan,  March  1,  1877. 
Dramatic  composer,  especially  of  ballet 
music.  He  was  maestro  concertatore  in 
several  theatres  in  Italy,  and  in  1864  served 
in  that  capacity  at  Alexandria,  Egypt,  in 
1875  at  Valencia,  Spain,  and  in  1877  at 
Mantua.  Works  ■ —  Ballets  :  La  visioue  d' 
un  poeta,  Anna  di  Masovia,  Un  concorso 
coregrafico,  Turin,  186-t  ;  Velleda,  Milan, 
1864  ;  II  diavolo  a  quattro  (with  Pio  Bel- 


lini), Milan,  1865  ;  Enrico  di  Guisa,  Fermo, 
1865  ;  Amina,  Ferrara,  1867  ;  Zelia,  Turin, 
1868  ;  La  Camargo,  Milan,  1868  ;  Nissa  e 
Saib  (with  Baur),  Turin,  1868  ;  Brahma  ; 
La  battaglia  di  Legnano ;  La  Semiramide 
del  Norte ;  Episodio  della  vita  d'  una 
ballerina  ;  Attea  ;  Anelda  ;  Nerone,  Milan, 
1877.  Operas :  I  due  Orsi,  opera  bufi'a, 
Milan,  1867  ;  II  diavolo  zoppo,  ib.,  1867  ; 
II  barbiere  di  Siviglia  (same  libretto  as  that 
of  Rossini,  to  whom  he  dedicated  it,  receiv- 
ing a  flattering  letter  of  accej)tance),  Bo- 
logna, 1868,  unsuccessful ;  Pietro  Micca  ; 
Garello  ;  Ifigenia. — Fetis,  Supplement,  i. 
225. 

DALLA  SUA  PACE.     See  Don  Giovanni. 

D.ALLOGLIO  (d'  Alloglio  ?),  DOMENICO, 
born  in  Venice  (or  Padua)  in  the  beginning 
of  the  18th  century,  died  near  Narva,  Russia, 
in  1764.  Violinist,  went  to  St.  Petersburg 
in  1735,  and  remained  in  the  imperial  ser- 
vice twenty-nine  j'ears  ;  when  about  to  re- 
turn to  Italy,  struck  by  apoplexy  at  Narva. 
He  composed  several  symphonies,  concertos 
for  violin,  solos  for  do.,  and  for  viola.  His 
younger  brother,  Giuseppe  (died  in  Venice, 
1771),  a  celebrated  violoncellist,  accom- 
panied him  to  St.  Petersburg,  and  after  Do- 
meuico's  death  proceeded  to  Warsaw,  where 
he  api^eared  at  court,  and  was  entrusted 
by  the  King  of  Poland  with  a  diplomatic 
mission  to  the  republic  of  Venice  in  1765. 
— Ft:-tis :  Mendel. 

DAL  TUO  STELLATO  SOGLIO.  See 
3Ios(i  in  Egitto. 

D'ALVIMARE,  MARTIN  PIERRE,  born 
at  Dreux  (Eure-et-Loir),  Sept.  18,  1772, 
died  in  Paris,  June  13,  1839.  Harp  player  ; 
he  wrote  an  opera,  Egle,  when  onl}'  sixteen 
(1788),  played  before  the  court  at  Ver- 
sailles, and  entered  the  Garde  du  Corps  of 
Louis  XVI.  A  refugee  at  the  time  of  the 
Revolution,  he  afterwards  became  harp 
teacher  to  the  Empress  Josephine  (1807), 
and  on  his  retirement  to  his  jjatrimony  at 
Dreux,  in  1812,  devoted  the  rest  of  his  life 
to  music  and  composition.  Among  his 
published  works  are  :  Sonatas  for  harji,  or 


387 


DAM 


harp  and  pianoforte  ;  Fantaisies  on  Eussian 
airs  for  harp  ;  Collections  of  romances,  and 
pieces  for  harp  and  horn  arranged  with 
Frederic  Duvernoj.  He  wrote  also  an 
opera -comique,  Le  mariage  par  impru- 
dence, given  at  the  Oj^i'ra  Comique,  Paris, 
April  4,  1809. — Futis ;  do.,  Supplement,  i. 
227  ;  Mendel. 

DAM,  HERRMANN  GEOEG,  born  in  Ber- 
lin, Dec.  5,  1815,  died  there,  Nov.  27,  1858. 
Violinist,  son  and  pupil  of  Mads  Gregers 
Dam,  Danish  violinist  and  composer  (1791- 
1859),  who  was  Kaijellmeister  to  the  King 
of  Prussia.  He  was  Kammermusiker  to 
the  king  from  ISiO  until  his  death.  Works 
— Operas:  Das  Fischermiidchen,  Berlin, 
1831 ;  Cola  Eienzi,  ib.,  1835  ;  Der  Geister- 
ring,  lb.,  1842  ;  Die  englischen  "Waareu,  ib., 
1844.  Oratorios :  Das  Hallelujah  der  Schup- 
fung,  1847  ;  Die  Siiudfluth,  1848.  Over- 
tures, cantatas,  and  Lieder. — Fetis,  Supple- 
ment, i.  228  ;  Mendel. 

DAMCKE,  BERTHOLD,  born  iu  Hano- 
ver, Feb.  6,  1812,  died  in  Paris,  Feb.  15, 
1875.  He  was  educated  at  the  Hanover 
Gymnasium,  became  a  player  on  the  viola 
in  the  royal  chapel  iu  1833,  and  gave  a 
concert  on  the  organ  of  his  own  composi- 
tions the  year  following.  After  studying  iu 
Frankfort-on-the-Main  under  Sehelble,  Eies, 
and  Aloys  Schmitt,  he  became  director  of 
the  Musical  Society  of  Ki-euznach,  and  of 
its  Liedertafel,  and  established  there  a 
singing  society  for  which  he  comjjosed  his 
oratorio,  Deborah,  choruses  for  Goethe's 
Faust,  and  some  psalms.  In  1837  he  went 
to  Potsdam  as  director  of  the  Philharmonic 
Society,  and  was  soon  after  made  director 
of  the  Association  for  the  production  of 
dramatic  music.  He  occupied  a  similar 
position  at  Ivonigsberg  from  1841  to  1845, 
when  he  went  to  St.  Petersburg  to  teach 
the  pianoforte.  In  1855  he  went  to  Brus- 
sels, and  was  professor  of  harmony  and  the 
pianoforte  there  until  1859,  when  he  went 
to  Paris  to  reside.  Works :  Kiitchen  von 
Heilbronn,  romantic  opera  iu  three  acts, 
Konigsberg,  1845  ;  Deborah,  oratorio,  1836  ; 


Die  Geburt  Jesu,  do.,  1839  ;  Tobias,  do., 
1839  ;  Cantatas  ;  Overtures  ;  Thirty-second 
psalm  and  other  psalms  ;  Pianoforte  music  ; 
Songs  and  part-songs. —  Fetis  ;  Mendel; 
Riemann. 

DAME  BLANCHE,  LA  (The  White 
Lady),  opera-comique  iu  three  acts,  test  by 
Scribe,  music  by  Boieldieu,  first  represented 
at  the  Opera  Comique,  Paris,  Dec.  10,  1825. 
The  libretto  is  an  adaptation  of  Walter 
Scott's  novel,  "The  Monastery,"  in  which 
the  White  Lad}'  figures  as  the  protectress 
of  the  Avenel  family.    This  work,  one  of  the 


Mane  Role. 

most  pleasing  and  most  successful  operas- 
comiques  ever  written,  still  holds  the  stage. 
In  1864  it  reached  its  one  thousandth  rej)- 
resentation  at  the  Oi^era  Comique,  and 
since  then  it  has  been  given  several  hun- 
di-ed  times.  Among  those  who  have  filled 
the  princiiial  role  most  successfully  is  Mme 
Marie  Euze  (Mrs.  Henry  Mapleson),  who 
appeared  in  it  frequently  at  the  Opera 
Comique  iu  1865-69.  It  was  first  per- 
formed in  English  at  Covent  Garden,  Lon- 
don, Jan.  2,  1827,  under  the  title  of  The 
White  Maid.  It  was  first  given  in  New  York, 
at  the  Park  Theatre,  Aug.  5,  1833.  The  fol- 
lowing is  the  original  cast,  as  played  in  Paris, 
1825: 

Anna Mme  Rigaut. 

Gaveston M.  Henri. 


DA]\[E 


Georges M.  Ponchard. 

Dickson M.  Fei-c'ol. 

Jeimy Mrue  Boulauger. 

Marguerite Mine  Desbrosses. 

Gabriel M.  Belnie. 

Maclrtou M.  Firmin. 

Among  the  most  popular  numbers  are  : 
The  inti-otluctory  chorus,  "  Sounez,  cors  et 
musettes  ;  "  the  opening  song  of  Georges, 
"  Ah  !  quel  plaisir  dVitre  sohlat  ;  "  the  ballad 
of  the  White  Lady,  "  D'ici  voyez  ce  beau 
domaiue  ; "  the  romanza  iu  the  opening  of 
the  second  act,  "  Pauvre  dame  llarguerite  ;"' 
the  trio,  "  C'est  la  cloche  de  la  tourelle  ;" 
the  tenor  cavatina,  "  Viens,  gentille  dame  ; " 
and  iu  the  third  act  the  chorus,  "  Chantez, 
joj'eus  menestrels,"  leading  up  to  the  lay 
of  the  Clan  of  Avenel,  the  old  ballad 
"  Eobiu  Adair."  The  same  subject  has  been 
treated  in  La  donna  bianca  dAvenello,  Ital- 
ian ojiera  iu  three  acts,  music  by  Pavesi, 
Milan,  Nov.  13,  1830  ;  and  music  by  Cesare 
Gallieri,  Milan,  Feb.  1,  1855.  These  at- 
tempts to  improve  upon  Boieldieu  were  not 
successful. — Liszt,    Gesammelte    Schrifteu, 

m.  99. 

DAME  DE  PIQUE,  LA  (The  Queen  of 
Spades),  ojJera-comique  in  three  acts,  text 
by  Scribe,  music  by  Halevy,  first  represented 
at  the  Opera  Comique,  Paris,  Dec.  28,  1850. 
Subject  from  a  novel  by  the  Russian  poet 
Pushkin,  translated  by  Prosper  Mcrimee. 
The  Princess  Poloska  possesses  a  secret  by 
means  of  which  she  is  sure  to  win  at  plaj'. 
Her  lover.  Lieutenant  Constantin  Nclidoff, 
wins  through  it  a  very  large  sum  from  his 
rival,  Colonel  Ziziauoff,  and  with  it  the 
hand  of  the  Princess. 

DAME  DU  LAC.     See  Donna  del  Lago. 

DAME  INVISIBLE,  LA  (The  Invisible 
Lady),  ou  L'amant  a,  I'epreuve  (The  Lover 
tested),  opera  in  three  acts,  text  bj'  Moline 
and  Loraux,  music  by  Henri  Berton,  repre- 
sented at  the  Comedie  Italienne,  Paris,  Dec. 
5,  1787. 

DAME  KOBOLD  (The  Fairy  Lady), 
comic  opera  iu  three  acts,  test  by  Paul  Re- 


ber,  freely  adapted  from  Calderou's  comedy, 
"La  dama  duende,"  music  by  Joachim  Ealf, 
first  represented  at  Weimar,  April  9,  1870, 
ou  the  occasion  of  the  fete  of  the  Grand 
Duchess. 

DAME  KOBOLD,  overture  to  Calderon's 
comedy,  "  La  dania  duende,"  for  orchestra, 
by  Carl  Reinecke,  op.  51. 

DAME  VOILEE,  LA  (The  Veiled  Lady), 
opera- comique  in  one  act,  text  by  Segur, 
music  by  Mengozzi,  represented  at  the 
Opora  Comique,  Paris,  Nov.  28,  1799. 

DAMES  CAPITAINES,  LES  (The  Lady 
Captains),  opera-comique  in  three  acts,  text 
by  Mclesville,  music  by  Reber,  rejiresented 
at  the  Opera  Comique,  June  3,  1857.  The 
action  passes  in  the  time  of  the  Fronde, 
and  the  Duchesse  de  Chatillon  is  the  he- 
roine. 

DAMM,  FRIEDRICH,  born  in  Dresden, 
March  7,  1831,  still  living,  1888.  Pianist, 
pupil  of  Kragen,  Julius  Otto,  and  Reichel  ; 
after  living  more  than  ten  years  iu  diS'er- 
ent  cities  of  North  Germany,  and  iu  Amer- 
ica, settled  iu  Dresden.  He  became  known 
chiefly  through  his  brilliant  compositions 
for  pianoforte,  while  his  more  important 
works,  like  sonatas,  and  contrapuntal  works, 
remain  in  manuscript. — Mendel. 

DAMMAS,  HELLMUTH  IvARL,  born  at 
Bergen,  island  of  Riigen,  Oct.  22,  1816,  still 
living,  1888.  Amateur  composer,  studied 
nuisic  at  the  Royal  Institute  for  Church 
Music,  and  at  the  Academy  of  Arts  in  Ber- 
lin, where  he  began  to  teach  the  pianoforte, 
but  soon  after  entered  the  government  ser- 
vice. He  is  also  a  poet,  and  well  known  as 
a  writer  of  tales  and  novels  under  the  pseu- 
donym of  Feodor  Steifen.  Works  :  Gomez 
Arias,  heroic  opera  (text  by  himself) ;  Trauer- 
Cantate  ;  Crucifixus  for  6  voices  ;  Vocal 
quartets,  and  duets  ;  songs  with  pianoforte. 
—Mendel. 

DAMNATION  DE  FAUST,  LA,  dramatic 
legend  in  four  parts,  for  full  orchestra,  solo 
voices,  and  chorus,  text  by  Hector  Berlioz, 
Gerard,  and  Gandonniere,  music  by  Hector 
Berlioz,   op.   24  ;  first   given  at  the   Opera 


DAMON 


Comique,  Paris,  Dec.  C,  1846.  Although 
Berlioz  bad  had  this  work  in  his  mind  for 
several  years,  he  did  not  begin  to  write  it 
until  1846,  when  be  was  making  a  concert 
tour  through  Austria  and  Huugarj\  Parts 
of  it  were  composed  in  his  post-chaise,  on 
railways,  on  steamboats,  in  inns,  wherever 
the  inspiration  seized  him  ;  and  after  the 
outline  was  sketched  he  worked  the  whole 
over  again  in  Paris.  The  text  makes  many 
deviations  from  Goethe's  jjoem,  which 
brought  down  upon  him  the  anger  of  the 
German  critics.  The  parts  are  as  follows  : 
I.  Scene  1.  Plaines  de  Hongrie  ;  2.  Faust 
seul ;  3.  Marche  hongroise.  II.  Scene  1. 
Faust  dans  son  cabinet  de  travail  ;  2. 
Hymne  de  la  fete  de  Paques  ;  3.  Cave  de 
Leipzig  ;  4.  Bosquets  et  prairies  du  bord 
de  I'Elbe.  III.  Scene  1.  Faust  dans  la 
chambre  de  Marguerite  ;  2.  Le  Eoi  de 
Thule  ;  3.  Marguerite  seule  ;  4.  Devaut  la 
maison  de  Marguerite  ;  5.  Serenade  de 
Mephistopheles  ;  6.  Finale.  IV.  Scene  1. 
Marguerite  seule  ;  2.  Forets  et  eavernes ;  3. 
La  course  a  I'abime  ;  4.  Pandemonium  ;  .5. 
Ajjotheose  de  Marguerite.  The  most  re- 
markable numbers  are  the  Marche  hon- 
groise or  Rakoczy  IMarch,  in  which  is  intro- 
duced the  famous  Hungarian  air  of  Franz 
Eiikoczy  ;  the  duet,  "  Ange  adore  dont  la 
celeste  image  ; "  the  serenade  of  Mephis- 
topbeles  ;  Marguerite's  song  at  the  spin- 
ning-wheel ;  the  famous  ride  to  the  abyss  ; 
and  in  the  finale,  the  chorus  of  celestial 
spirits.  The  work  was  sung  in  Paris  by 
Roger,  Hermann  Leon,  Henri,  Mme  Duflot- 
Maillard,  and  two  hundred  musicians  di- 
rected by  the  composer  himself.  It  was 
given  in  Vienna  Ln  1866,  with  extraordinary 
success.  Its  first  production  in  America 
was  in  Steinway  Hall,  New  York,  Feb.  12, 
1880,  under  the  direction  of  Dr.  Leopold 
Damrosch,  aided  by  the  Symphony,  Ora- 
torio, and  Arion  Societies. — Berlioz,  Mem- 
oires,  397  ;  Ernst,  L'<euvre  dramatique  de 
Hector  Berlioz,  145  ;  Jahu,  Ges.  Aufsatze 
iiber  Musik,  87  ;  JuUien,  Hector  Berlioz, 
149  ;  Clement. 


DAMON,  DER  (The  Demon),  fantastic 
opera  in  three  acts,  text  by  Viskovatoff, 
after  Lermontoff's  poem  of  the  same  title 
(Berlin,  1857),  music  by  Anton  Rubinstein, 
first  represented  in  Russian  at  the  Marie 
Theatre,  St.  Petersburg,  Jan.  25,  1875.  It 
was  given  in  German  at  Hamburg,  1880, 
and  in  Italian  at  Covent  Garden,  London, 
June  21,  1881. 

DAMON,  WILLIAM,  born  in  England 
about  1540,  died  early  in  the  17th  cen- 
tury. An  organist  of  Queen  Elizabeth's 
chapel,  he  harmonized  forty  of  the  jjsalm 
tunes  then  in  use,  which  were  published 
with  the  following  title :  "  The  Psalmes  of 
David  in  English  Meter  with  Notes  of  foure 
partes  set  vmto  them  by  Guilielmo  Damon, 
for  John  Bull,  to  the  use  of  the  Godly 
Christians  for  recreatyng  themselves  in  stede 
of  fond  and  unseemly  Ballades.  At  London, 
printed  by  John  Daye.  Cum  privilegio." 
This  collection  not  meeting  with  ijublic 
favour,  Damon  reharmonized  the  tunes  and 
republished  it  in  1591  :  "The  former Booke 
of  the  Musicke  of  M.  William  Damon,  late 
one  of  her  Majesties  Musitions,  containing 
all  the  tunes  of  David's  Psalms,  as  they  are 
ordinarily  soung  in  the  Church  :  most  ex- 
cellently by  him  composed  into  four  partes. 
In  which  sett  the  Tenor  singeth  the  Church 
tune." — Fotis  ;  Grove  ;  Mendel. 

DAISIROSCH,  LEOPOLD,  born  in  Ro- 
sen, Prussia,  Oct.  22,  1832,  died  in  New 
York,  Feb.  15,  1885.  Violinist  and  con- 
ductor ;  was  graduated  as  M.D.  from  the 
University  of  Berlin,  but  devoted  all  his  lei- 
sure time  to  music,  studying  the  violin  un- 
der Conzertmeister  Ries,  and  theory  and 
compiositiou  under  Dehn  and  Buhmer. 
After  appearing  as  a  solo  violinist  in  sev- 
eral German  cities,  and  making  a  national 
reputation,  he  went  in  1855  to  Weimar, 
where  Liszt  gave  him  the  position  of  solo 
violinist  in  the  Grand  Duke's  orchestra,  and 
dedicated  to  him  the  second  of  his  sym- 
phonic poems.  Wagner's  friendship  was 
no  less  sincere,  and  a  short  time  before  the 
composer's  death  he  sent  to  Dr.  Damrosch 


390 


DAMSE 


the  MS.  finale  to  the  first  act  ot  Parsifal. 
In  1859  Dr.  Damrosoh  began  his  career  as 
a  conductor  at  the  Philharmonic  concerts 
in  Breslau,  but  resigned  after  about  a  year 
and  made  a  concert 
tour  with  von  Billow 
and  Tausig.  In  1862 
he  returned  to  Breslau, 
and  organized  a  Sj-m- 
phony  society  there 
witli  an  orchestra  of 
eighty  members;  twelve 
concerts  were  given 
each  season,  and  many 
of  the  celebrated  artists 
of  the  day  appeared  at  them,  among  others, 
Eubinstein,  von  Billow,  and  Joachim  ;  both 
Liszt  and  Wagner  personally  conducted  on 
various  occasions.  In  1871  he  went  to  New 
York  to  become  the  conductor  of  the  Arion 
Society,  and  made  Lis  first  public  appear- 
ance in  that  city,  Maj'  Gth,  in  the  triple 
character  of  conductor,  composer,  and  vi- 
olinist. In  1873  he  organized  the  Oratorio 
Society  of  New  York,  and  in  1878  the  Sym- 
phony Society,  the  success  of  both  of  which 
was  entirely  due  to  his  untiring  efforts.     In 

1880  the  degree  of  Mus.  Doc.  was  con- 
ferred  on  him   by  Columbia   College.     In 

1881  he  organized  and  conducted  a  Mu- 
sical Festival  in  New  York,  May  3-7,  in 
which  the  orchestra  numbered  2.50  per- 
formers, the  chorus  1,200  voices,  and  the 
audiences  8,000  to  10,000.  Among  other 
notable  compositions,  Eubinstein's  Tower 
of  Babel,  and  Berlioz'  Grande  Messe  des 
Morts,  were  given  for  the  first  time  in 
America.  In  1883  Dr.  Damroseh  made  a 
successful  tour  with  his  orchestra  through 
the  principal  western  cities.  In  1884,  at 
his  suggestion,  the  directors  of  the  Metro- 
politan Opera  House,  New  York,  gave  Ger- 
man opera  there  during  that  season,  during 
which  Wagner's  Tannhi'iuser,  Lohengrin, 
and  Die  Walkiire,  were  produced.  At  the 
same  time  Dr.  Damroseh  continued  his 
work  as  conductor  of  the  Oratorio  and  S3m- 
phony  Societies,  and  in  the  midst  of  these 


many  labors,  which  greatly  taxed  his  strength, 
he  took  a  severe  cold  and  died  after  a  very 
brief  illness.  As  one  whose  rare  cultivation 
and  ability  were  always  used  for  the  purpose 
of  raising  the  standard  of  musical  taste,  and 
who  gave  to  the  public  so  many  of  the  best 
products  of  the  art,  his  name  occupies  a 
most  honorable  position  in  the  history  of 
music  in  America.  His  own  compositions 
indicate  a  thorough  knowledge  of  instru- 
mentation, and  his  musical  ideas  are  both 
refined  and  noble.  Works — Orchestral  : 
Orchesterstiick,  op.  9.  in  MS.,  1859  ;  Music 
to  Schiller's  Jeanne  d'Arc,  in  MS.,  1858  ; 
Festival  overture,  op.  15,  18G8  ;  Synipliony 
in  A,  in  MS.,  1878  ;  arrangement  of  Schu- 
bert's Marche  Militaire,  in  MS.,  1875  ;  ar- 
rangement of  a  Quintet  by  Schubert,  in  MS., 
1877  ;  Arion  March,  1882  ;  Independent 
Schiltzeu-Marsch,  1882.  For  solo  violin  and 
orchestra  :  Fantasie,  in  MS.,  1856  ;  Taran- 
tella, in  MS.,  1856  ;  Mazurka,  in  MS.,  1859  ; 
Serenade,  1860  ;  Eomanze,  A  major,  1865  ; 
Fir.st  concerto,  D  minor,  1874  ;  Nachtge- 
sang,  1875  ;  Capriccetto,  1876  ;  Second  con- 
certo, in  MS.,  F-sharp,  minor,  1877  ;  Con- 
certo, G  major,  op.  8.  For  solo,  chorus, 
and  orchestra :  Die  lustigen  Musikanten, 
in  MS.,  1872  ;  Ruth  and  Naomi,  1874 ; 
Brautgesang,  1874  ;  Thou  who  art  God 
alone,  in  MS.,  1874  ;  Battle  hymn  of  Lex- 
ington, in  MS.,  1875  ;  Centennial  cantata, 
in  MS.,  1876  ;  Sulamith,  The  Song  of  Songs, 
1881.  For  solo  and  orchestra  :  Siegfried's 
Sword,  1868  ;  King  Harald  Haarfager,  in 
MS.,  1868.  Choral  works  :  And  that  they 
know  thy  name  ;  Christmas  Carol ;  Laudate 
Domiuum  :  Te  Deum  laudamus  ;  Ring  out, 
wild  bells ;  and  others.  Songs  for  male 
chorus  :  Ausfahrt  ;  Eeichthum  und  Ehre  ; 
Die  Maulbi-onner  Fuge  ;  Frilhlingsahnung ; 
Maieunacht,  and  others.  Duets :  Keiner 
soil  die  Thiir'  verriegeln  ;  Sie  blasen  zum  Ab- 
marsch  ;  Diesen  schmucken  Ritter,  Mutter  ; 
So  oft  sie  kam  ;  and  others.     Many  Songs. 

DAMSE,  JOSEPH,  born  at  Warsaw  in 
1788,  died  at  Rudno,  near  War.saw,  Dec. 
15,  1852.     He  was  for  many  years  a  j^rolific 


DANA 


composer  of  dram.atic  and  instramental 
music  iu  Poland  and  Kussia.  He  wrote  2G 
comic  operas,  17  vaudevilles,  more  than  30 
melodramas,  7  ballets,  and  much  church 
and  military  music.  Principal  works  : 
Klarynecik  magnetyczuy,  oj^era,  1820  ;  Noc- 
leg  V  zamku,  do.,  1821  ;  Kluska,  do.,  1822  ; 
Dawne  czasky,  do.,  1826  ;  Przykaz,  do., 
1837  ;  Kontrabandzista,  do.,  1844.  His  j^ol- 
onaise.  La  soiree  de  Saiut-Sylvestre,  was 
very  popular. — Fetis,  Supplement,  i.  229  ; 
Mendel  ;  Sowinski,  Mus.  Polonais,  140. 

DANA,  (CHARLES)  HENSHAW,  born, 
of  American  parentage,  in  West  Newton, 
Massachusetts,  Feb.  7,  1846,  died  iu  Wor- 
cester, Feb.  5,  1883.  As  a  boy  he  studied 
under  George  Kingsley,  in  Northampton, 
and  afterward  under  Albert  S.  and  Benja- 
min D.  Allen,  in  Worcester  ;  Avhen  fifteen 
he  was  organist  in  a  local  church,  and  he 
was  then  for  a  time  a  pupil  of  Otto  Dresel, 
in  Boston.  In  1869  he  went  to  Eurojje, 
and  studied  the  pianoforte  and  harmony  iu 
Leipsic  under  Papperitz,  and  in  Stuttgart 
four  years  with  Lebert,  Speidel,  and  Krii- 
ger,  with  the  last  of  whom  he  made  his  first 
public  appearance  as  a  pianist  iu  Stuttgart. 
He  afterwards  studied  a  winter  under  La- 
borde  in  Paris.  In  1875  he  returned  to 
America  and  appeared  as  pianist,  with  suc- 
cess, at  the  annual  session  of  the  Worcester 
County  Musical  Association.  The  seven  re- 
maining years  of  his  life  were  jjassed  in 
teaching,  composing,  and  conducting  ;  dur- 
ing this  time  he  was  organist  and  choir- 
master of  St.  Paul's  (R.  C.)  Church  in 
Worcester,  and  Jilso  of  the  Jesuit  Church 
of  the  Immaculate  Concepition  in  Boston. 
Among  his  compositions,  which  consist 
mostly  of  songs  and  church  choir  music,  are 
the  following,  Marguerite,  1867  ;  Like  a 
strain  of  wondrous  music,  1870  ;  Te  Deum 
in  D,  1873  ;  Among  the  Lilies,  1875  ;  O  Sal- 
utaris  (E  flat),  1876  ;  Salve  Regina,  No.  1, 
1876,  No.  2,  1879  ;  The  Sunmier  Wind 
(quartet),  1877  ;  Ave  Maria,  1877  ;  O  Salu- 
taris,  1878  ;  The  Lilies  clustered  fair  and  tall, 
1881  ;  Veni  Creator,  1882  :  Edeuland,  1883. 


DANAIDES,  LES,  tragic  opera  in  five 
acts,  text  by  the  Bailli  du  Rollet  and  Tschu- 
di,  music  by  Salieri,  first  given  at  the 
Opera,  Paris,  April  26,  1784.  Salieri  worked 
at  this  opera  under  the  supei'vision  of  Gluck, 
who  had  been  asked  by  the  Acadoraie  de 
Musique  in  Paris  to  suggest  a  composer 
who  could  write  a  French  opera  in  which 
his  own  jsrinciples  should  be  carried  out. 
In  its  first  twelve  representations  it  was 
ascribed  jointly  to  Gluck  and  Salieri,  but 
before  the  thirteenth  Gluck  announced  pub- 
licly that  Salieri  was  the  sole  author.  The 
subject  is  the  tragic  story  of  the  fifty  daugh- 
ters of  Danaus,  who  were  compelled  by 
their  father  to  promise  to  kill  their  hus- 
bands on  the  first  night.  On  the  same  sub- 
ject are  :  Le  Dauaidi,  Italian  opera,  music 
by  Tarchi,  given  at  Milan,  Dec.  26,  1794  ; 
music  by  Morlacchi,  Rome,  1810 ;  and  by 
Simon  Mayr,  Rome,  1819.  Danao,  re  d' 
Argo,  Italian  opera  seria,  two  acts,  music 
by  Persiani,  given  at  La  Pergola,  Florence, 
1827,  and  at  Milan,  Oct.  26,  1833.  Le 
Danaidi  romane,  music  by  Pavesi,  Venice, 
1816. 

DANBY,  JOHN,  born  in  1757,  died  in 
London,  May  16,  1798.  Between  1781  and 
1794  he  obtained  ten  prizes  from  the  Catch 
Club  for  seven  glees,  two  canons,  and  an 
ode.  He  was  organist  of  the  chapel  of  the 
Spanish  Embassy,  London,  for  which  he 
composed  some  motets  and  masses.  He 
published  an  elementary  work  :  La  Guida 
alia  Musica  vocale  (1787) ;  and  three  books 
of  his  compositions  ;  another  was  issued 
after  his  death.  His  glee,  Awake,  .3iiolian 
lyre,  for  four  voices,  is  considered  his  best. 
— Grove  ;  Mendel. 

DANCLA,  ARNALTD,  born  at  Bagneres- 
de-Bigorre  (Hautes-Pyn'-nees),  Jan.  1,  1820, 
died  there,  Feb.,  1862.  Violoncellist  and 
composer,  brother  of  the  following ;  pupil  of 
Norblin,  at  the  Conservatoire,  Paris,  where 
he  obtained  the  second  prize  in  1839,  and 
the  first  in  1840.  AVorks :  Fantaisie  for 
violoncello  on  La  Sircne  by  Auber  ;  Etudes 
for  do.,  op.  2  ;   2  books  of  duos  for  do.  ; 


DANCLA 


Mi'lodies  for  do.  ;  Method  for  do.  Another 
brothel',  Leopold  (boru  June  1,  1823),  is  a 
distinguished  violinist,  pupil  of  Baillot  at 
the  Conservatoire,  where  he  took  the  sec- 
ond prize  in  1840,  and  the  first  in  1842. 
He  has  composed  Airs  varies  and  fantaisies 
for  violin,  etudes  for  do.,  and  three  quartets 
for  string  instruments. — Fetis. 

DANCLA,  JEAN  BAPTISTE  CHARLES, 
boru  at  Bagneres-de-Bigorre  Dec.  lit,  1818, 
still  living,  in  Paris,  1888.  Violinist ;  when 
ten  years  old  he  played  Eode's  seventh 
concerto  before  that  composer,  who  placed 
him  in  1828  at  the  Paris  Conservatoire, 
where  he  was  the  pupil  of  Guerin  and  of 
Baillot.  He  won  the  first  prize  at  the  age 
of  fifteen  (1833),  and  was  a  member  of  the 
orchestra  of  the  Opera  Comiqae  in  1834, 
meanwhile  studying  harmonj',  counterpoint, 
and  fugue  under  Hak'vy,  and  composition 
under  Berton.  He  took  the  prize  for  fugue 
in  1837,  the  2d  gi\and  prix  de  Rome  in 
1838,  and  became  professor  of  the  violin  at 
the  Conservatoire  in  1857,  and  member  of 
the  Legion  of  Honour.  Li  1847  and  in  1848 
he  was  awarded  by  the  ministry  of  Public 
Instruction  the  1st  gold  medal  for  musical 
compositions  for  the  use  of  primarj-  schools  ; 
in  1857,  the  first  prize  by  the  Sainte-Ct'cile 
Society  of  Bordeaux,  for  a  quartet  for  string 
instruments  ;  in  1858  the  first  prize  of  the 
Imperial  Society  of  Agriculture,  at  Valen- 
ciennes, for  the  Hymn  to  Agriculture,  male 
chorus  without  accompaniment ;  and  in  18G1 
the  prize  given  by  the  Academic  and  the 
Institut  for  quartet  and  chamber  music 
(1861).  Works  :  Four  symphonies,  op.  6, 
10,  29,  98  ;  6  concertos  for  violin  and  or- 
chestra, op.  77,  93,  94,  95  ;  8  quartets  for 
string  instruments,  op.  5,  7,  18,  41,  48,  56, 
80,  87  ;  4  trios  for  pianoforte  ;  30  duos  for 
pianoforte  and  violin  ;  14  works  of  duos  for 
two  violins  ;  Methode  elementaire  et  pro- 
gressive du  violon  ;  L'Ecole  de  I'expression, 
op.  82  ;  L'Ecole  de  la  melodie,  op.  129  ; 
L'Art  de  raoduler  sur  le  violon  (with  Panse- 
ron).  He  was  the  author  also  of :  "  Les 
Compositeurs    chefs   d'orchestre  "    (Paris, 


1873),  and  "  Miscellam'es  musicales  (ib., 
1877).— Fetis  ;  do..  Supplement,  i.  229  ; 
Mendel ;  Riemanii. 

DANDRIEU  (d'Andrieu),  JEAN  FRAN- 
Ij^'OIS,  boru  in  Paris,  in  1684,  died  there, 
Jan.  16,  1740.  Organist  at  the  churches 
of  Saint-Merry  and  Saint-Barthelemy.  His 
works,  much  esteemed  among  his  contem- 
poraries, consist  of  three  books  of  pieces 
for  pianoforte,  one  book  for  organ,  a  suite 
of  Noels,  and  sonatas  for  string  instru- 
ments.— FeHs  ;  Mendel  ;  Schilling. 

DANHAUSER,  ADOLPHE  LEOPOLD, 
born  in  Paris,  Feb.  26,  1835,  still  living, 
1888.  Vocal  comj^oser,  pupil  at  the  Con- 
servatoire of  Bazin  in  harmony,  of  Halevy 
and  Reber  in  fugue  and  composition  ;  won 
the  first  prizes  for  harmony  and  fugue,  and 
in  1862  the  second  prix  de  Rome.  He  de- 
voted himself  early  to  teaching,  and  is  now 
jjrofessor  of  solfege  at  the  Conservatoire. 
In  1875  he  was  .appointed  inspector  of  vocal 
instruction  in  the  schools  of  Paris.  Works  : 
I  Maures  et  Castillans,  opera  ;  Le  proscrit, 
'  musical  drama  with  chorus,  given  at  Au- 
teuil,  1866  ;  Soirees  orpheoniques,  collec- 
tion of  twelve  choruses  for  three  voices  ; 
Songs. — Fetis,  Supplement,  i.  230. 

DANIC.4.N.     See  PhiUdor. 

DANIEL,  JOHN,  born  at  Aberdeen,  Scot- 
land, in  1803,  died  in  New  York,  June  21, 
1881.  In  1840  he  removed  to  America  and 
settled  as  a  teacher  of  vocal  and  instru- 
mental music  in  New  York,  where  he 
gained  reputation  as  a  teacher  and  had  as 
pupils  members  of  many  of  the  best  known 
families  of  the  time.  Works :  National  Psal- 
mody of  the  Church  of  Scotland,  with  selec- 
tion of  pieces  from  the  most  eminent  Com- 
posers, for  Organ,  Pianoforte,  etc.  (1837) ; 
2d  Edition  (1843) ;  also,  jjart-songs,  songs, 
and  pianoforte  music. 

DANILOWA,  opera-comique  in  three 
acts,  text  by  Vial  and  Duport,  music  by 
Adolphe  Adam,  represented  at  the  Opera 
Comique,  Paris,  April  23,  1830. 

DANKERS  (Dankerts),  GHISILIN, 
born  at  Tholen,  Zeeland,  lived  in  the  16th 


DANK 


century.  A  singer  in  the  Papal  choir  under 
Popes  Paul  in.,  Marcellus  Jl.,  Paul  IV.,  and 
Pius  rV. ;  he  was  one  of  the  conservative 
musicians  of  that  time  who  adhered  strictly 
to  the  teachings  of  the  old  Netherland 
school ;  he  gained  celebrity  by  being  chosen 
with  Bartolomc  Escobedo  as  umpire,  in 
1551,  in  the  dispute  between  two  ecclesi- 
astical musicians,  Vicentino  and  Lusitano, 
upon  the  nature  of  the  scales  on  which  the 
music  of  their  time  was  constructed.  He 
defended  his  verdict  against  Vicentino  in 
a  learned  and  exhaustive  treatise,  the  MS. 
of  which  is  preserved  in  the  Vatican  Library. 
Works  :  Eight-part  motet,  Lretamini  in  Do- 
mino, included  in  Uhlaud's  Coucentus  octo 
.  .  .  vocum  (Augsburg,  151:5) ;  Six-part 
motet,  Tua  est  potentia,  in  the  Selectissima; 
cantiones  ultra  centum  (Augsburg,  1540) ; 
2  books  of  madrigals  for  four,  five,  and  six 
voices  (Venice,  1559). — Ft'tis  ;  Mendel ;  Eie- 
mann  ;  Viotta. 

DANK  SEI  DIR,  GOTT,  final  chorus  of 
the  first  part  of  Mendelssohn's  Elias. 

DANKS,  HART  PEASE,  born,  of  Amer- 
ican parentage,  in  New  Haven,  Connecticut, 
April  6,  18.34,  still  living,  1888.  He  stud- 
ied music  under  Dr.  L.  E.  "Whiting,  of  Sar- 
atoga, N.  Y.,  and  in  1854  was  settled  in 
Chicago  as  choir-leader,  and  conductor  of 
choral  societies.  He  was  afterwards  di- 
rector of  music  at  St.  Mary's  (E.  C.)  Church 
in  that  city  ;  in  1864  he  removed  to  New 
York,  where  he  has  since  resided.  He  has 
filled  the  positions  of  bass  singer  and  mu- 
sical director  in  the  following  churches  in 
New  York  :  Zion  Church,  Church  of  the  In- 
carnation, St.  Stej)hen's  Church  ;  in  Brook- 
lyn, Holy  Trinity,  First  Baptist  Church, 
Lafayette  Avenue  Presbyterian  Church, 
Second  Unitarian  Church,  and  Ross  Street 
Presbyterian  Church  ;  in  Jersey  City,  St. 
Matthew's  Church  ;  he  has  also  appeared 
as  a  concert  singer.  As  a  composer  he  is 
self-taught,  and  what  success  he  has  had  as 
a  writer  of  popular  music  is  largely  due  to 
the  production  of  effects  that  have  been 
suggested  in  his  jjractical  experience  as  a  j 


singer  and  choral  leader.  His  best  work 
has  been  in  the  line  of  sacred  music  ;  many 
of  his  comj)ositions  for  the  choir  being  ex- 
tensively used  in  America.  His  first  com- 
position was  the  hymn-tune,  Lake  Street, 
piublished  afterward,  in  1858,  in  William  B. 
Bradbur}''s  book  Jubilee  ;  in  1856  he  jsub- 
lislied  two  songs.  The  Old  Lane,  and  Anna 
Lee.  Since  then  he  has  produced  each 
j'ear  from  one  to  eighty-eight  pieces,  his 
published  works  numbering  at  present 
more  than  twelve  hundred.  Many  of  his 
pieces  have  been  brought  out  over  the 
j)seudonyms  of  Arthur  Dana,  H.  Leighton, 
George  Randall,  Charles  Dupont,  and  others. 
The  following  are  some  of  his  better  known 
compositions :  Don't  be  angry  with  me, 
darling,  song  (1870) ;  Pauline,  operetta 
(1872) ;  Silver  threads  among  the  gold,  song 
(1872,  had  a  sale  of  more  than  400,000 
copies  in  America  alone) ;  Not  ashamed  of 
Christ,  solo  (1873).  Also  a  number  of  An- 
them and  church-service  books,  the  more 
important  being.  The  Diamond  Collection, 
Festival  Anthems,  1885 ;  Ideal  Anthems, 
1886  ;  Danks's  Canticles,  1887. 

DANNREUTHER,  EDUARD,  born  in 
Strasburg,  Nov.  4,  1844,  still  living,  1888. 
He  was  taken,  in  1849,  by  his  parents  to 
Cincinnati,  United  States,  where  he  was  a 
pupil  of  P.  L.  Ritter,  then  studied  in  the 
Leipsic  Conservatorium  under  Moscheles, 
Haujitmann,  and  Richter,  from  1859  to 
1863,  when  he  settled  in  London  as  a 
teacher  of  the  pianoforte.  In  1872  he 
founded  the  Wagner  Society,  and  conduct- 
ed its  tw'O  series  of  concerts  in  1873  and 
1874 ;  he  also  promoted  the  Wagner  Fes- 
tival in  1877.  Although  the  champion  of 
Wagner,  he  is  not  entirely  devoted  to  the 
new  school,  but  is  also  an  able  interpreter 
of  the  works  of  Bach  and  Beethoven.  He 
has  composed  pianoforte  music  and  songs, 
and  is  the  author  of  "  Richard  Wagner,  his 
Tendencies  and  Theories  "  (London,  1873), 
of  papers  on  Wagner,  Beethoven,  etc.,  and 
of  articles  in  Grove's  Dictionary  of  Music. 
He  has  made  several  visits  to  the  United 


DAX:sKTU()M 


States,  where  he  is  kuown  as  a  pianoforte 
player  of  much  abihtj'.— Grove  ;  Meudel, 
Erganz.,  75  ;  Riemaini,  192. 

DANNSTROM,  JOHAN,  Swedish  com- 
poser, contemporary.  He  Hves  in  Stockholm 
as  a  vocal  teacher  ;  has  composed  operas 
and  operettas,  but  especiallj'  numerous  lyric 
songs,  full  of  true  sentiment,  which  next  to 
those  of  Liudblad  are  the  most  popular  in 
Sweden. 

DANN  WERDEN  DIE  GERECHTEN 
LEUCHTEN,  tenor  air  in  A-flat  in  Mendels- 
sohn's Elia.%  Part  11. 

DANRf:MONT  REQUIEM.  Sec  3Ie.-<se 
des  Morts. 

DANS  LES  BOIS  (In  the  Woods)  ;  seven 
reveries  for  the  pianoforte,  by  Stephen  Hel- 
ler, op.  8C. 

DANS  LA  NUIT  OU  SEUL  JE  VEILLE. 
See  Huguenots. 

DANS  SON  REGARD  PLUS  S0:MBRE. 
See  Hamhi. 

DANSE  macabre,  la  (Dance  Macaber, 
or  Dance  of  Death),  sjmphonic  poem,  for 
full  orchestra,  by  Camille  Saint-Saens,  op. 
40.  Played  frequently  iu  New  York  by 
Thomas's  Orchestra  iu  1884-88. 

DANTE  ET  BEATRICE,  lyrical  drama 
in  four  acts,  text  by  Eduard  Blau,  music  by 
Benjamin  Godard,  first  represented  at  the 
Opc'ra  Comique,  Pari.s,  in  1888.  Deals 
with  the  war  between  Guelphs  and  Ghibel- 
lines,  and  makes  Dante  a  young  and  active 
participant. 

DANTE  SYMPHONY.  See  Si/mphonie 
zu  Dautes  Diviua  Commedia. 

DANZA,  LA  (The  Dance),  cantata  for  two 
voices,  text  by  Metastasio,  music  by  Bonno, 
given  in  Vienna,  in  1744.  Characters  rep- 
resented :   Nice,  Tirsi. 

DANZI,  FRANZ,  born  in  Mannheim, 
May  15,  1763,  died  in  Carlsruhe,  April  13, 
1826.  Dramatic  composer  and  violoncellist, 
pupil  of  his  father,  who  was  first  violoncel- 
list to  the  Elector  Palatine,  and  in  composi- 
tion of  the  Abbc'  Vogler.  He  wrote  music 
for  his  instrument  when  twelve  years  old, 
and  was  admitted  to  the  Elector's  band  at 


fifteen.  The  band  was  transferred,  in  1798, 
to  Munich,  where  he  produced  his  first 
opera,  Azakia,  in 
1780.  In  1790  he 
married  Margarethe 
Marchand,  a  singer, 
and  with  her  made  a 
professional  tour  of 
six  years.  He  re- 
turned to  JMunich  in 
1797,  and  was  succes- 
sively Vice-Kapell- 
meister at  the  Elec- 
toral Chaisel,  Kapellmeister  to  the  King  of 
Wiirtemberg,  at  Stuttgart  (1807),  and  Kapell- 
meister at  the  court  of  Baden,  at  Carlsruhe, 
where  he  remained  until  his  death.  Works 
— Operas  :  Cleopatra,  given  at  Mannheim  in 
1779  ;  Azakia,  ojaeretta,  Munich,  1780  ;  Der 
Triumph  der  Treue,  ib.,  1781  ;  Die  Sylphe, 
ib.,  1782  ;  Der  Kuss,  ib.,  1799 ;  Die  Mitter- 
nacht  Stunde,  ib.,  1801  ;  Der  Quasimann, 
operetta,  ib. ;  Elbondokaui,  do.  ;  Iphigenia 
in  Aulis,  grand  opera,  Munich,  1807  ;  !Mal- 
vina,  Turandot,  Carlsruhe,  about  1815  ; 
Abraham  auf  Moria,  oratorio,  Stuttgart, 
1808 ;  Das  Freudenfest,  cantata  for  four 
voices  and  orchestra  ;  Preis  Gottes,  cantata, 
Leipsic,  1804.  He  composed  also  masses 
for  four  voices  and  organ  ;  the  128th  psalm 
for  four  voices  and  orchestra,  op.  65 ;  or- 
chestral and  chamber  music,  consisting  of 
symphonies,  quintets,  concertos,  sonatas, 
etc. ;  and  many  songs  and  choruses.  He  ex- 
celled as  a  teacher  of  singing,  and  his  sing- 
iujx    exercises    were    used    long    after    his 


death.— All 
mus.   Zeit 


d. 


Biog 
581 


,    iv.    755;    Allg. 
Ft'tis  ;    Mendel  ; 


em. 
g.,  xxviii. 
Riemann  ;  Schilling. 

DAPHNE.     See  Dafne. 

DAPHNIS  ET  CHLOi:,  pastorale,  text 
by  Laujon,  music  by  Boismortier,  repre- 
sented at  the  Academie  Royale  de  Mu- 
sique,  Paris,  Sept.  28,  1747.  The  libretto 
is  founded  on  the  pastoral  romance  of 
Longus,  the  Greek  sophist  (about  a.d.  400), 
entitled  "The  Pastorals  of  Daphnis  and 
Chloe."    Daphnis  ct  Chloe,  operetta  in  one 


89B 


DAKCIEIi 


act,  text  by  Clairville,  music  by  Offenbach, 
is  a  parody  on  the  same  romance. 

DAECIER,  JOSEPH,  born  in  Paris  in 
1820,  died  there,  December,  1883.  Singer 
and  dramatic  composer  ;  he  played  small 
parts  in  the  theatres  in  the  environs  of 
Paris  while  studying  music  (18i2-181;6), 
and  wi-ote  his  first  chansons  :  Larmes  d'a- 
mour,  Le  premier  du  roi,  Apres  la  bataille, 
Les  gabiers,  Aux  armes,  etc  ,  while  giving 
singing  lessons.  About  1848  he  made  a 
reputation  by  siuging  political  songs  at 
popular  concerts  and  cafes  chantants,  siug- 
ing Dupont's  Les  boeufs,  Les  louis  d'or,  and 
Du  pain,  in  which  he  stirred  up  so  much 
feeling  that  the  police  forbade  it.  He  also 
sang  many  of  his  own  compositions,  of 
which  Le  bataillon  de  la  Moselle,  and  La 
31ieme  demi-brigade,  were  very  popular. 
Among  his  best  compositions  are :  Les 
doublons  de  ma  ceiuture,  Madeleine,  Le . 
chemiu  du  moulin,  Toutes  les  femmes  c'est 
des  trompeuses.  La  mere  Providence,  L'ami 
soleil,  and  Le  chevalier  priutemps.  When 
Offenbach  opened  the  Bouffes  Parisiens,  in  ' 
185.5,  Darcier  appeared  in  Une  uuit  blanche, 
and  in  1857  in  Le  violoneux.  He  sang  also 
at  the  Beauraarchais  in  Les  compaguons 
du  tour  de  France,  and  brought  out  some  | 
operas  of  his  own  at  the  Folies  Nouvelles : 
Les  doublons  de  ma  ceiuture,  fi-om  his  song 
of  that  name  ;  Le  roi  de  la  Gaudriole,  Por- 
nic  le  hibou,  1858.  These  were  not  as  suc- 
cessful as  his  songs,  and  he  has  since  com- 
posed but  one  operetta,  Ah !  le  divorce, 
1874,  and  the  music  of  a  vaudeville,  Ces 
petites  dames  du  Temple,  1875. — Fetis,  Sup- 
plrment,  i.  234  ;  Larousse. 

DARDANUS,  tragic  opera  in  five  acts, 
text  by  La  Bruyore,  music  by  Rameau,  first 
represented  at  the  Acadt'mie 
Royale  de  Musique,  Paris, 
NoV.  19,  1739.  The  libretto 
is  founded  on  a  passage  of 
the  "  Jiineid  "  in  which  Dar- 
danus  is  said  to  have  estab- 
lished himself  in  Phrygia,  and  to  have  built 
the  city  of  Troy  with  the  aid  of  Teucer, 


whose  daughter  he  married.  Dardanus, 
lyric  tragedy,  text  by  La  Bruyere,  with 
changes  by  Guillard,  music  by  Sacchini, 
represented  at  the  Opera,  Paris,  Nov.  30, 
1784.  The  scenes  in  this  are  more  devel- 
oped than  in  the  work  by  Rameau,  and  the 
movements  are  more  pathetic.  Dardane, 
Italian  opera  seria  in  three  acts,  music  by 
Paisiello,  given  in  Naples.  1772.  Dardanus 
Sieg,  German  opera,  music  by  Stamitz,  St. 
Petersburg,  about  1770. 

DARG0]HY2SKY,  ALEXANDER  SER- 
GEEVITCH,  born  in  the  government  of 
Toula,  Russia,  Feb.  2,  1813,  died  in  St. 
Petersburg,  Jan.  29,  1869.  A  noble  who 
manifested  a  talent  for  music  so  early  that 
he  composed  little  sonatas  for  the  pianoforte 
at  the  age  of  seven.  He  was  taken  to  St. 
Petersburg  in  1817  by  his  parents  to  study 
music,  and  he  afterwards  studied  the  violin, 
harmony,  and  composition  under  Schober- 
lechner.  In  1830  he  appeared  as  a  pianist 
in  St.  Petersburg,  and  in  1831  he  received 
a  state  appointment  in  the  Emperor's  house- 
hold, but  gave  it  up  in  1835,  and  devoted 
himself  to  hard  study  for  eight  years.  In 
1845  he  visited  Germany,  Brussels,  and 
Paris,  and  in  1847  produced  in  Moscow  his 
opera,  Esmeralda  (written  in  1839),  which 
met  with  a  brilliant  success  both  there  and 
in  St.  Petersburg,  where  it  was  rejiroduced. 
Between  1850  and  1855  he  published  more 
than  a  hundred  romances,  airs,  duos, 
waltzes,  fantaisies,  etc.  In  1856  he  pro- 
duced in  St.  Petersburg  his  most  success- 
ful ojjera,  Busnalha,  which  still  keeps  the 
stage,  and  in  1867,  at  Moscow,  The  Feast 
of  Bacchus,  ballet  with  song  (written  in 
1845)  ;  his  posthumous  opera  Kamenoi  Gost 
(The  Marble  Guest,  or  Don  Juan),  scored 


by  Rimsky-Korsakov,  and  with  a  postlude 
by   Cui,  was  given   in    St.    Petersbui-g  in 


896 


DARONDEAUX 


1872.  A  Finnish  fantasy,  Baba  laza,  Koz- 
aczek  (Cossak  Dance),  and  other  orchestra 
music,  and  Le  Paladin,  a  romance.  In 
18G7  the  Eussian  Musical  Society  made  him 
its  president,  and  his  house  became  the 
gathering  ^jlace  of  the  young  Russian 
school  of  musicians  who  followed  Schu- 
mann, Berlioz,  Wagner,  and  Liszt. — Fetis  ; 
do.,  SuppKmeut,  i.  234 ;  Mendel ;  Rie- 
mann. 

DARONDEAUX,  HENRI,  born  in  Strass- 
burg,  Feb.  28,  1779,  died  in  Paris,  July  30, 
18G5.  Pianist,  dramatic  composer,  son  of 
Beuoni  Darondeaus  (singing  teacher,  and 
composer  of  the  music  of  the  opera,  Le  sol- 
dat  par  amour.  Opera  Coniique,  1789),  pupil 
at  the  Conservatoire,  Paris,  of  Ladurner  on 
the  pianoforte,  and  of  Berton  iu  harmony. 
He  was  for  a  long  time  connected  with  the 
Theatre  des  Varietcs,  for  which  he  arranged 
.  music.  Works — Ballets  :  Acis  et  Galatee, 
given  at  the  Opera,  1806  ;  and  Les  deux  Cre- 
oles ;  Jenny,  ou  Le  mariage  secret  ;  Rosine 
et  Lorenzo  ;  Les  sauvages  de  la  Floride  ;  La 
chatte  merveilleuse  ;  Pizarro,  all  brought 
out  at  the  Theatre  de  la  Porte-Saint-JIartin. 
He  wrote  many  airs  for  vaudevilles,  which 
became  very  popular,  such  as :  En  amour 
comme  en  amitie  ;  Retour  de  la  sentinelle, 
etc.  ;  and  published  pianoforte  music,  sona- 
tas, fantaisies,  etc. — Fetis ;  do..  Supple- 
ment, i.  237;  Mendel. 

DAS  FEUER  FIEL  HERAB,  chorus 
with  figured  choral  iu  Mendelssohn's  Elias, 
Part  I. 

DAS  SCHONE  FEST.  See  MeUlersing- 
er  von  Niirnberg. 

DAUC4HTER  OF  GODS,  BRIGHT 
LIBERTY,  soprano  air  in  B-flat,  of  lide,  iu 
Handel's  Hercules,  Part  I. 

DAUGHTER  OF  ST.  MARK,  THE,  Eng- 
lish opera,  text  by  Alfred  Bnnn,  music  by 
Balfe,  represented  at  Drury  Lane,  London, 
Nov.  27,  1844.  The  heroine  is  Catarina  Cor- 
naro.  Queen  of  Cyprus.  The  libretto  is  an 
adaptation  of  La  Udne  de  Cliypre,  by  Saint- 
Georges,  music  by  Hah'vy.  It  was  the  first 
of  Balfe 's  operas  in  which  the  entire  action 


is  expressed  in  music.  Catarina  was  sung 
by  Miss  Rainsforth,  Adolph  by  Mr.  Har- 
rison, Moncenigo  by  Mr.  Weiss,  Andrea  by 
Mr.  Borraui,  and  the  King  by  Mr.  Burdini. 
—Barrett,  Balfe,  166. 

DAUPRAT,  LOUIS  FRAN(;OIS,  born  in 
Paris,  May  24,  1781,  died  there,  ivXy  16, 
1868.  Cornet  player,  pupil  of  Kenn  at  the 
Institut  National  de  Musique,  afterwards 
the  Conservatoire.  In  1799  he  became  a 
member  of  the  band  of  the  Consular  guards, 
and  in  1800  went  through  the  campaign  in 
Italy.  In  1801  he  played  in  the  orches- 
tra of  the  Theatre  Montansier,  Paris,  and 
studied  harmony  under  Catel  at  the  Con- 
servatoire, and  composition  under  Gossec. 
He  played  in  the  theatre  of  Bordeaux  iu 
1806-08,  when  he  was  recalled  to  Paris  by 
the  administration  of  the  Opera  as  solo 
cornet,  a  position  which  he  held  until  1831, 
when  he  retired.  He  became  honorary 
member  of  Napoleon's  Chapel  in  1811,  suc- 
ceeded Domnich  in  the  royal  chapel  under 
Louis  XVni.  in  1816,  and  was  made  pro- 
fessor of  the  cornet  at  the  Conservatoire  in 
the  same  year.  Among  his  pupils  were 
Gallay,  who  succeeded  him  at  the  Conser- 
vatoire, Rousselot,  Norbert,  Meric,  Banneux, 
Bernard,  Jacqmin,  and  Meifred.  Works  : 
Concerto  for  horn  and  orchestra,  op.  1  ;  So- 
nata for  pianoforte  and  horn,  op.  2  ;  Many 
other  concertos  and  sonatas,  symphonies, 
overtures,  quintets,  sextets,  duos,  etc.,  a 
list  of  which  is  given  by  Fetis.  He  was  the 
author  of  several  theoretical  works,  and  of  a 
Methode  pour  cor  alto  et  cor  basse,  in 
three  parts,  one  of  the  best  manuals  pub- 
lished.'— Fetis  ;  Mendel ;  Riemann. 

DAUSSOIGNE  MEHUL,  JOSEPH,  born 
at  Givet  (Ardennes),  June  24,  1790,  died 
at  Liege,  March  10,  1875.  Dramatic  com- 
poser, pupil  at  the  Paris  Conservatoire ; 
studied  the  pianoforte  under  Adam  in 
1799,  composition  under  his  uncle  ^Nlehul, 
harmony  under  Catel.  He  won  the  2d 
grand  prix  de  Rome  iu  1807,  and  the  1st 
grand  prix  in  1809.  After  his  return  from 
Rome  he  wrote  several  operas,  but  as  they 


3!J7 


DAUTKESME 


were  unsuccessful,  he  gave  up  dramatic 
coiujjosition  and  resigned  his  position  at 
the  Conservatoire,  in  1827,  to  accejit  the 
direction  of  the  Conservatoire  at  Liege. 
He  was  a  member  of  the  Eoj-al  Academy 
of  Belgium,  chevalier  of  the  Legion  of  Hon- 
our, and  correspondent  of  the  Institut  de 
France.  Works — Operas  :  Kobert  Guis- 
card  ;  Le  faux  inqviisiteur  (1817) ;  Le  testa- 
ment (1818)  ;  Les  amants  corsaires  (1819) ; 
Aspasie,  given  at  the  Oisera,  1820  ;  Les 
deux  Salem,  ib.,  1824  ;  Cantata  for  grand 
orchestra,  Liege,  1828  ;  Une  journee  de  la 
revolution,  symphony  with  choruses,  Brus- 
sels, 18151:. — Fetis;  do.,  Sui^plemeut,  i.  238; 
Mendel ;  Eiemann. 

DAUTEESilE,  AUGUSTE  LUCIEN, 
born  at  Elbeuf  (Seine-Inferieure),  May  21, 
1826,  still  living,  1888.  Dramatic  composer, 
pupil  of  Autoine  Neukomm  on  the  piano- 
forte, of  Amcdee  Mereaus  in  harmony, 
counterj^oint  and  fugue,  and  profited  much 
by  the  advice  of  Mej'erbeer.  He  was  presi- 
dent of  the  musical  committee  which  cele- 
brated the  centenary  of  Boieldieu  in  1875. 
Medal  of  honor  from  Eouen  Academy,  1802. 
Works — Operas:  Sous  les  charniilles,  comic 
opera,  given  at  the  Theati'e  Lyrique,  1862  ; 
Le  bon  temps,  musical  drama,  Paris  and 
Eouen,  1803  ;  Cardillac,  Theatre  Lyrique, 
1867. — Fetis,  Supplement,  i.  230  ;  Mendel, 
Ergilnz.,  76. 

D-Am^EEGNE,  ANTOINE,  born  at 
Clermont-Ferrand,  Oct.  4,  1713,  died  in 
Lyons,  Feb.  12,  1797.  Violinist  and  dra- 
matic composer.  Son  and  pupil  of  a  clever 
violinist  who  was  leader  of  the  band  at 
Clermont.  In  1739  he  went  to  Paris,  where 
he  plaj'ed  in  the  Concerts  Spirituels  in  1740, 
and  became  violinist  of  the  king's  band  in 
1741,  and  of  the  Opera  in  1742.  He  was 
forty  years  old  when  he  first  began  com- 
posing for  the  stage.  His  first  work  was 
a  ballet :  Les  amours  de  Tempe,  1752.  His 
opera-comique,  Les  troqueurs,  attracted 
notice  in  1753,  for  uj)  to  that  time  what  is 
now  opera-comique  had  been  merely  a 
vaudeville  with  music  introduced,  and  was 


called  comedie  a  ai-iette.  Les  troqueurs 
was  more  like  the  Italian  intermezzo  with 
spoken  dialogue  instead  of  recitative,  and 
ojjened  a  new  field  for  French  composers, 
and  had  great  success.  He  bought  the  ap- 
pointment of  composer  to  the  king  in  1755, 
and  also  the  succession  to  the  post  of  cham- 
ber-musician, and  had  to  resign  his  place 
at  the  OiJura.  Mondonville  gave  up  the 
Concerts  Sjjirituels  in  1762,  and  Dauvergne 
took  his  place  ;  and  he  was  conductor  of 
the  Opera  from  1751  to  1755,  director  in 
1776,  1777,  1780  to  1782,  and  from  1785  to 
1790.  He  was  also  superintendent  of  the 
king's  music,  and  chevalier  of  the  order  of 
Saint-Michel  in  1786.  At  the  outbreak  of 
the  Eevolution  he  left  Paris  and  retired  to 
Lj'ons.  Works — Operas  :  Les  amours  de 
Tempe,  ballet,  given  at  the  OiJcra,  1752  ; 
Les  troqueurs.  Opera  Comique,  1753  ;  La 
coquette  trompoe,  at  court,  1753  ;  Enee  et 
Lavinie,  Opera,  1758  ;  Les  fetes  d'Euterjje, 
Canente,  1760  ;  Hercule  mourant,  1761 ; 
Pyrrhus  et  Polyxene,  1764  ;  La  Venitienne, 
1708  ;  Persee  (with  Eebel,  Francceur  and 
de  Burj-,  at  court,  1770  ;  Le  prix  de  la  va- 
leur,  1770  ;  Callirhoe,  1773  ;  Linus  (with 
Trial  and  Berton)  ;  La  tour  enchantee ; 
Orphee.  The  last  three  were  never  played. 
He  wrote  also  the  music  of  fifteen  motets 
played  at  the  Concerts  Spirituels  ;  Book  of 
trios  for  two  violins  and  basso,  published 
in  1740  ;  Book  of  sonatas  for  the  violin  ;  2 
books  of  symphonies,  in  four  parts  (1750). 
—Grove  ;  Mendel ;  Fetis. 

DAVAUX,  JEAN  BAPTISTE,  born  at  the 
Cote  Saint-Andre  (Isere)  in  1737,  died  in 
Paris,  Feb.  22,  1822.  Violinist,  acquired 
early  j)roficiency  in  music,  and  at  the  age 
of  twenty-three  went  to  Paris,  where  he 
soon  obtained  success  as  a  composer.  After 
the  revolution  he  held  a  position  in  the 
ministry  of  war,  and  was  pensioned  in  1815. 
Works  :  6  quartets,  op.  1  ;  do.,  op.  0  ;  do., 
op.  9  ;  do.,  op.  10  ;  Four  concertos,  op.  2  ; 
Symphonies  concertantes  for  two  violins, 
op.  3  and  4  ;  2  do.  for  violin,  op.  7  ;  3  sym- 
phonies for  grand  orchestra,  op.  8  ;  2  sym- 


398 


DAVID 


plioiiies,  op.  11  ;  2  do.  coneertantes  for  two 
■violins  and  tlute,  op.  12  ;  2  do.  for  two  vio- 
lins, op.  13  ;  3  quartets,  o-p.  14  ;  do.,  op.  17  ; 
3  trios  for  two  violins  and  viola,  op.  15  ; 
Synijjlionie  concertaute  for  two  violins,  op. 
16  ;  Concerto  for  violin,  op.  18. — Fctis. 

DAVID,  oratorio,  by  Sigismund  Neu- 
komm,  written  for  the  Birmingliam  (Eng- 
land) Festival,  1834 

DAVID,  biblical  ofjera  in  three  acts,  text 
by  Alexandre  Soumet  and  F.  Malletille,  mu- 
sic by  Auguste  Mermet,  represented  at  the 
Acadt'niie  Royale  de  Musique,  Paris,  June  3, 
1840.  The  libretto  is  an  adaptation  of  the 
tragedy  of  Saiil  by  Soumet,  previously  pro- 
duced at  the  Odcon.  Davide,  Italian  opera, 
text  by  Apostolo  Zeno,  music  by  Francesco 
Conti,  given  in  Vienna,  1724 ;  and  music 
by  Liverati,  same  text,  Vienna,  1802. 

DAVID,  FELICIEN,  born  at  Cadenet, 
France,  April  13, 
1810,  died  at  Saint- 
Germain  -en  -  Lay  e, 
Aug.  29,  18  70. 
The  son  of  an  ac- 
complished ama- 
teur, he  began  to 
show  musical  tal- 
ent at  a  very  early 
age.  About  18  K! 
or  1817  his  family 
moved  to  Aix,  where  he  entered  the  Mai- 
trise  (school)  du  Saint-Sauveur,  and  became 
a  chorister  at  the  cathedral.  Even  at  this 
early  j)eriod  he  wrote  hymns  and  motets  ; 
a  string  quartet,  written  at  the  age  of  thir- 
teen, is  preserved  at  the  maitrise.  In  1825 
he  entered  the  Jesuit  college  at  Aix,  con- 
tinuing his  musical  studies,  and  acquiring 
some  proficiency  on  the  violin.  At  this 
period  he  also  develojjed  an  astonishing 
musical  memory.  When  he  left  college,  in 
1828,  want  of  means  forced  him  to  enter  his 
brother-in-law's  law  olSce,  but  soon  after- 
wards he  was  appointed  second  conductor 
at  the  Aix  Theatre,  which  post  he  held  for 
a  year,  when,  in  182!),  he  was  made  maitre 
de  chapelle  at  the  Saint-Sauveur.     This  post 


also  he  held  for  only  one  year,  during  which 
he  wrote  some  church  music,  among  other 
things  a  "  Beatus  vir,"  which  Cherubini 
afterwards  praised  highly.  In  1830  he  went 
to  Paris  to  complete  his  musical  education, 
his  uncle  giving  him  a  moderate  allow- 
ance. He  entered  the  Conservatoire,  study- 
ing harmony  under  Millot  and  Eeber,  and 
counterpoint  and  fugue  under  Fi'tis.  In 
1831  David  joined  the  Saint-Simouiens, 
and  lived  for  some  time  at  the  convent 
presided  over  by  Pere  Eufantin,  writing 
music  for  the  hymns  of  the  brotherhood. 
When  the  latter  was  dissolved  in  1833, 
David  went  to  Marseilles  and  thence  to 
the  East,  where  he  stayed  several  years, 
visiting  Constantinople,  Smyrna,  Egypt, 
and  Palestine.  He  always  had  a  pianoforte 
with  him,  the  gift  of  an  admiring  maker 
at  Lyons.  Soon  after  his  return  to  Paris, 
in  1835,  he  j)ublished  a  set  of  Melodies 
orientales  for  pianoforte,  a  work  which 
met  with  undeserved  neglect.  Disai^iiointed 
at  this  failure,  David  retired  to  the  neigh- 
borhood of  Igny.  A  good  deal  of  orches- 
tral and  chamber  music  and  several  songs 
belong  to  this  period.  In  1841  he  again 
moved  to  Paris,  and  in  1844  brought  out 
his  Le  Desert,  which  has  ever  since  been 
his  most  successful  work.  This  was  fol- 
lowed in  1846  by  Moise  au  Sinai,  an  ora- 
torio written  during  a  concert  trip  to  Ger- 
many, and  next  year  by  the  descrijjtive 
symphony,  Christophe  Colomb  ;  Eden,  a 
Mystery,  was  given  at  the  Opera  in  1848, 
but  none  of  these  three  works  was  suc- 
cessful. David's  first  genuine  success  after 
the  Desert  was  the  opcra-comique.  La  perle 
du  Br6sil  (1851).  This  was  followed  by 
other  more  or  less  successful  operas  until 
1865,  when  David  withdrew  from  the  stage. 
In  1860,  he  received  a  pension  of  2,400 
francs  from  the  Emperor,  in  1862  he  was 
promoted  to  the  grade  of  oflicer  of  the 
Legion  of  Honour,  and  in  1807  the  Academic 
des  Beaux-Arts  awarded  him  the  prize  of 
20,000  francs  oft'ered  by  the  Emperor  "  for 
the  work  or  discovery  most  calculated   to 


11  AVID 


honour  the  country,  and  produced  during- 
the  last  ten  years."  David  had  two  prom- 
inent competitors,  Charles  Blanc,  with  his 
"  Grammaire  des  arts  du  dessin,"  and  the 
architect  Labrouste,  who  had  restored  the 
Imperial  Library.  The  work  which  ob- 
tained the  prize  for  David,  by  a  vote  of  GO 
out  of  104,  was  the  opera  Herculanum.  In 
18G9  David  succeeded  Berlioz  at  the  Aca- 
demie  des  Beaux-Arts,  and  as  librarian  at 
the  Conservatoire.  Since  his  death  several 
of  his  works,  notably  Le  desert,  Lalla 
Roukli,  and  some  string  quartets,  have  been 
revived  in  Paris  with  much  success.  David 
was  certainly  one  of  the  most  genial  of 
modern  French  composers  ;  his  genius  was 
rather  of  the  dreamy,  contemplative,  and 
imaginative  stamp,  refined  and  elegant,  but 
almost  wholly  lacking  in  dramatic  power. 
His  mastery  of  the  orchestra  was  complete, 
and  his  power  of  musical  characterization 
(tone-painting,  as  it  is  now  called)  especially 
astounding.  His  sojourn  in  the  East  had  a 
strong  determining  influence  upon  the  char- 
acter of  his  musical  thought ;  his  local  colour 
is  surprisingly  true  whenever  he  deals  with 
oriental  subjects.  Like  Berlioz,  he  was  a 
little  in  advance  of  the  musical  taste  in 
France  in  his  time,  and  he  can  divide  with 
that  composer  the  honor  of  founding  the 
modern  French  descriptive  orchestral  school. 
Works — Operas  :  La  perle  du  Bresil,  given 
at  the  Theatre  Lyrique,  1857  ;  Herculanum, 
Opera,  1859  ;  Lalla  Koukh,  Opera  Comique, 
1862  ;  Le  Saphir,  ib.,  1865  ;  La  captive,  not 
performed.  Le  desert,  ode-symphony,  1844  ; 
Christophe  Colomb,  do.,  1847  ;  Mfdise  au 
Sinai,  oratorio,  1846  ;  JJEden,  mystery  in 
two  parts,  Opera,  1848  ;  Symphony  in  F  ; 
2  nonets  for  wind  instruments  ;  Les  quatre 
saisons,    24    quintets   for   2    violins,    viola, 

violoncello,  and  double  bass  ;  12  melodies 
for  violoncello  ;  Les  brises  d'Orient,  coUec- 


tion  of  melodies  for  pianoforte  ;  Les  mina- 
rets, 3  melodies  for  do. ;  Les  perles  d'Ori- 
ent, 6  melodies  for  voice  and  pianoforte ; 
Many  detached  melodies  and  romances. 
— Sylvain  Saint-Etienue,  Biog.  de  Felicien 
David  (Marseilles,  1845)  ;  Azevedo,  Felic. 
David,  sa  vie  et  son  oeuvre  (Paris,  1863) ; 
Clement,  Mus.  celebres,  533  ;  Fetis  ;  do., 
Supplement,  i.  240  ;  Mendel ;  Eiemann. 
DAVID,  FERDINAND,  born  at  Ham- 
burg, Germany,  Jan. 
19,  1810,  died  at 
Klosters,  Switzer- 
land, July  18,  1873. 
Violinist,  ytwpW  at 
Cassel  of  Spohr  in 
1823-26,  and  while 
still  a  boy,  made  sev- 
eral concert  tours 
with  his  pianist  sis- 
ter, Louise,  after- 
wards famous  as  Mme  Dulcken.  He  then 
played  in  the  orchestra  of  the  KOnigstiidter 
Theater,  Berlin,  for  three  yeai-s,  led  a  string 
quartet  in  Dorpat,  Russia,  for  an  amateur, 
Liphardt,  whose  daughter  became  later  his 
wife.  During  his  stay  in  Russia  he  gave 
concerts  in  Moscow,  Riga,  and  St.  Peters- 
burg. In  1835  he  returned  to  German}', 
and  the  next  year  was  appointed  Conzert- 
meister  of  the  city,  opera,  and  Gewandhaus 
orchestra  of  Leipsic,  an  office  he  honorably 
filled  until  his  death.  When  the  Leipsic 
Conservatorium  was  founded,  he  became 
its  professor  of  the  violin,  and  among  his  pu- 
pils were  Joachim  and  Wilhelmj.  He  was 
an  intimate  friend  of  Mendelssohn,  and  for 
years  his  influence  was  great  in  the  musical 
circles  of  Leipsic.  Though  eminent  as  a  vir- 
tuoso, he  was  especially  noted  as  a  quartet- 
player,  and  as  a  leading  first  violin  he  had 
a  rare  gift  of  inspiring  his  orchestra.  His 
compositions  are  valuable,  and  he  has  fur- 
ther done  good  service  by  editing  manj'  for- 
gotten classics  from  the  violin  literature  of 
former  centuries.  Works  :  5  violin  concer- 
tos ;  Variations,  capriccios,  rondos,  and  other 
violin  music  ;  2  symphonies  ;  Bunle  Reihe, 


400 


'^mv^Kc 


DAVID 


pieces  for  ijianoforte  ami  violin,  fraiiscribetl 
for  jnanoforte  by  Liszt ;  Violinscliule,  cue 
of  the  best  instruction  books  ;  Hans  Wacbt, 
an  opera  ;  a  sextet,  quartet,  and  other  cham- 
ber music ;  Die  hohe  Schule  des  Violin- 
spiels,  the  works  of  17th  and  IStli  cen- 
tury masters.  La  !Mara  (Marie  Lipsius) 
gives  a  list  of  fifty  works  with  ojius  uum- 


ber,  besides  the  editions  of  other  composers. 
— Grove  ;  Allgem.  d.  Biogr.,  iv.  784  ;  Eck- 
ardt,  r.  David  u.  die  Familie  Mendelssohn 
(Leipsic,  1888)  ;  Fetis,  ii.  440  ;  Sup.,  i.  239  ; 
Mendel  ;  do.,  Ergiiuz.,  77  ;  Wasielewski, 
Die  Violine,  339  ;  Hart,  The  Violin,  433  ; 
La  Mara,  jMus.  Studienkopfe,  iii.  53 ;  Mus. 
Wocheublatt,  iv.  513. 

DAVID,  S.\j\roEL,  born  in  Paris,  Nov. 
12,  183(5,  still  living,  1888.  Dramatic  com- 
poser, pupil  at  the  Conservatoire,  where  he 
took  the  first  prize  in  solfcge  in  1850  ;  pu- 
pil of  Bazin  in  harmony  and  accompani- 
ment, winning  the  second  j)rize  in  1853  and 
the  first  in  1854  ;  and  pupil  of  Halcvj'  in 
fugue,  taking  the  first  iM'ize  in  1855.  He 
was  director  of  singing  at  the  Theatre  Ly- 
rique  in  1856,  won  the  grand  prix  de  Rome 
at  the  lustitut  in  1858,  for  his  cantata 
Jephti',  and  in  the  same  year  the  gold 
medal  for  the  cantata  Le  genie  de  la  terre, 
written  for  the  International  Orj)heonic  Fes- 
tival of  1859,  and  sung  by  six  thou.sand 
voices.  On  his  return  from  Rome  in  1861, 
he  became  i^rofessor  at  the  college  of  Sainte- 
Barbe,  and  wrote  a  theoretical  and  practical 
work:  "  LArt  de  jouer  en  mesure,"  pub- 
lished in  1862.  In  1872  he  was  made  di- 
rector general  of  music  to  the  Jewish 
synagogues  of  Paris.  Works  :  La  peau 
de  Fours,  operetta,  given  at  the  Folies 
Nouvelles,  1857  :  Les  chevaliers  du  poig- 
nard,   Mademoiselle    Sylvia,   given   at   the 


Opt'ra  Comique,  1868  ;  La  foe  dcs  Bru- 
yeres  ;  La  gageure,  Une  Dragonnade,  L'tdu- 
cjtion  d'un  prince  ;  Absalon  ;  Les  chan- 
geur.s,  Tu  I'as  voulu,  operetta,  BoutFes  Pari- 
siens,  1869  ;  Le  bien  d'aiitrui,  do.,  1869  ; 
Un  caprice  de  Ninon,  do.,  1871 ;  I  Macca- 
bei,  grand  Italian  opera.  He  wrote  four 
symphonies,  choruses,  and  some  vocal  mel- 
odies, of  which  Le  gui'.  Si  j'l'tais  seigneur, 
A  Conchita,  Sonnet,  Le  soutien,  Chantez 
encore,  Le  souvenir,  are  the  most  popular. 
—Fetis,  Supi^lement,  i.  241  ;  Mendel,  Er- 
giinz.,  77  ;  Riemanu. 

DAVIDDE  PENITENTE,  ItaUan  cantata 
for  three  solo  voices,  chorus,  and  orchestra, 
by  Mozart,  compiled  from  his  mass  in  C 
minor,  composed  1783,  and  two  concert 
arias,  composed  1785  ;  first  performed  in 
the  Burg  Theater,  Vienna,  at  the  concert  for 
the  pension  fund  of  musicians'  wido\vs, 
March  13  and  17,  1785.  The  solo  singers 
were  Friiulein  Cavalieri,  Fraulein  Distler, 
and  Herr  Adamberger.  The  cantata,  which 
comprises  ten  numbers,  is  one  of  the  best 
examples  of  Mozart's  church  style.  Pub- 
lished by  Breitkopf  &  Hiirtel  (Leipsic),  Mo- 
zarts  Werke,  Cantaten  und  Oratorien,  No. 
5.— Jahn,  iii.  395  ;  KOchel,  374  ;  Upton, 
Standard  Cantatas,  274. 

DAVIDOFF,  KARL,  born  at  Goldiugen, 
Courland,  March  15, 
1838,  still  living, 
1888.  Violoncellist, 
pupil  of  H.  Schmitt 
at  Moscow,  where  he 
took  the  course  in 
mathematics  at  the 
University  in  1854- 
58.  Having  studied 
the  violoncello  under 
Schuberth,  of  St.  Petersburg,  and  harmony 
under  Hauptmann,  at  Leipsic,  he  made  his 
first  appearance  there  in  a  Gewaudbaus 
concert,  Dec.  15,  1859,  and  was  immedi- 
ately appointed  first  violoncellist  of  the  Ge- 
wandhaus  orchestra  and  professor  at  the 
Leipsic  Couservatorium.  In  1862  he  was 
made  solo  violoncellist  to  the  Emijeror  of 


401 


DAYIDSEtrXDLER 


Russia  aud  iu  the  orchestra  of  the  new  Rus- 
sian music  society,  and  was  also  engaged  as 
professor  in  the  St.  Petersburg  Conserva- 
tory, of  which  he  became  director  iu  187G. 
He  has  jshij-ed  in  the  chief  cities  of  Russia, 
Germany,  Hohand,  aud  Belgium,  as  well  as 
iu  London  and  Paris,  aud  rauks  very  high 
as  a  virtuoso.  Order  of  Vladimir,  1879. 
Works  :  Concertos,  a  ballad,  aud  a  song  with- 
out words  for  the  violoncello  ;  Songs  ;  Piano- 
forte music. — Grove  ;  Fetis,  Sufjplement,  i. 
2-42  ;  Mendel,  iii.  83  ;  do.,  Ergiinz.,  78. 

DAVIDSBUNDLER,  MARCHE  DES. 
See  CarnavaL 

DA\1DSBUNDLERTANZE  DIE  (The 
Davidsbiindler  Dances),  18  character  jjieces 
for  the  jjianoforte,  by  Robert  Schumauu, 
op.  6,  dedicated  to  Walther  von  Goethe, 
composed  1837,  imblished  in  February, 
1838.  The  Davidsbiindler  (Davidites)  was 
an  imaginary  secret  society  of  Schumauu 
and  his  friends,  banded  together,  like  Da- 
vid aud  his  companions  against  the  Philis- 
tines, in  ojjposition  to  the  fashionable  salon 
music  of  the  day.  They  appeared  chiefly  in 
the  columns  of  Schumann's  periodical,  the 
Neue  Zeitschrift  fiir  Musik,  though  their 
names  are  found  in  some  of  his  composi- 
tions also.  Iu  this  work  no  one  of  the 
numbers  is  in  dance  measure,  the  title  be- 
ing in  allusion  to  the  idea  which  inspired 
the  work,  meaning  dances  which  the  David- 
ites had  with  the  Philistines.  Each  num- 
ber bears  the  mai-k  either  of  Florestan  (F), 
or  of  Eusebius  (E),  or  of  both,  two  con- 
trasted individualities,  in  which  Schumann 
strove  to  personify  the  two  most  prominent 
traits  of  his  character,  dreamy  tenderness 
and  mysticism  as  Eusebius,  and  passionate 
energy  as  Florestan. — Reissmann,  G2. 

DAVISON,  JAMES  WILLIAM,  born  in 
London,  Oct.  5,  1815,  died  at  Margate, 
March  24,  1885.  Composer,  pupil  of  Will- 
iam Henry  Holmes,  and  of  Macfarren.  He 
was  musical  critic  of  the  Times  and  the 
IMusical  World.  Works — Pianoforte  music  : 
Dramatic  overture  to  the  fairy  tale  of  Fortu- 
iiatus  ;  4  bagatelles  a  la  valse,  op.  4  ;  First 


sonata,  op.  G  ;  Tarantella,  op.  7  ;  3  sketches, 
op.  8  ;  Romance,  oj).  11  ;  Songs. 

DAVY,  JOHN,  born  at  Upton  Helion, 
near  Exeter,  Eugland,  in  17G5,  died  in  Lon- 
don, Feb.  22,  1824.  Dramatic  composer, 
articled  in  1777  to  Jackson,  of  Exeter,  aud 
after  teaching  in  that  city  several  years, 
went  to  London,  where  he  played  the  violin 
in  the  orchestra  of  Covent  Garden  Theatre, 
and  taught  music.  He  composed  the  music 
for  the  following  dramatic  jiieces  :  What  a 
blunder,  1800  ;  Perouse  (with  J.  Moorhead), 
1801 ;  The  Brazen  Mask  (with  Mountain), 
1802  ;  The  Cabinet  (with  Braham  and 
others),  1802  ;  The  Caffres  (with  others), 
1802  ;  Red  Roy,  1803  ;  The  Miller's  Maid, 
Harlequin  Quicksilver,  1804  ;  Thirty  Thou- 
sand (with  Braham  and  Reeve),  1805  ;  Span- 
ish Dollars,  Harlequin's  Magnet,  1805  ;  The 
Blind  Boy,  1808  ;  The  Farmer's  Wife  (with 
others),  1814  ;  Rob  Roy  Macgregor,  1818  ; 
Woman's  Will  a  Riddle,  1820.  He  wrote 
also  au  overture  to  Shakespeare's  Tempest, 
six  quartets  for  voices,  and  six  madrigals 
for  four  voices.  Some  of  his  songs,  such  as 
Just  like  love.  May  we  ne'er  want  a  friend, 
The  Death  of  the  Smuggler,  and  especially 
The  Bay  of  Biscay,  Avere  popular  in  their 
day. — Fetis  ;  Grove  ;  Mendel. 

DAYAS,  WILLIA:M  HUMPHRIES,  born, 
of  English  and  American  parentage,  in  New 
York,  Sept.  12,  18G4,  still  living,  1888.  Pi- 
anist ;  studied  in  New  York  the  joianoforte 
and  thorough  bass  under  Samuel  Jackson, 
and  later  counterpoint  aud  the  organ  un- 
der Warren,  and  the  pianoforte  under  S. 
B.  Mills  and  Joseffy.  After  serving  as  or- 
ganist of  the  Fifth  Avenue  Presbyterian 
Church,  New  York,  and  of  St.  Andrews, 
Harlem,  he  went,  about  1881,  to  Europe, 
and  studied  first,  in  Lcipsic,  the  jiianoforte 
under  Kullak  and  counterpoint  with  C.  A. 
Haupt ;  and  then  in  Berlin  the  pianoforte 
under  Heinrich  Ehrlieh,  and  composition 
and  orchestration  iiiider  Heinrich  Urban  ; 
he  was  also  under  Liszt's  instruction  at 
Weimar  for  several  summers.  In  1888  he 
made  a  concert  tour  iu  Germany  with  Miss 


402 


dea 


Anna  Seiikrali  (Harkness),  the  violinist ;  at 
present  be  is  settled  iu  Weimar.  Works : 
Polonaise  for  pianoforte,  op.  1  ;  2  pianoforte 
sonatas,  op.  4  ;  Sonata  for  tlie  organ,  op. 
5  ;  6  psalms  for  mixed  chorus,  op.  6  ;  So- 
nata for  the  organ.  No.  2,  op.  7 ;  Suite 
for  string  orchestra,  performed  at  Weimar, 
1886;  Quartet  for  strings;  Sonata  for  pi- 
auoforte  and  violin  ;  20  songs. 

DEA,  opura-comique  iu  two  acts,  text  by 
Cormon  and  Michel  Carre,  music  by  Jules 
Cohen,  represented  at  the  Oj)era  Comique, 
Paris,  April  30,  1870. 

DEANE,  THOMAS,  flourished  in  the 
17th  and  18th  centuries.  He  was  organist 
at  Warwick  and  at  Coventry,  and  received 
the  degree  of  Mus.  Doc.  at  Oxford  in  1731. 
He  composed  a  service  and  other  church 
music  ;  and  the  instrumental  music  for  Old- 
mixon's  tragedy.  The  Governor  of  Cyprus 
(1703).  Many  compositions  for  the  violin 
by  him  are  iu  the  collection  called  The  Di- 
vision Violin. — Grove  ;  Mendel. 

DEARLE,  EDWARD,  boruiu  Cambridge, 
England,  in  180G,  still  living,  1888.  Or- 
ganist of  St.  Paul's,  Deptford,  1827,  of  oth- 
er parish  churches,  and  of  the  church  at 
Newark  iu  183.5-G4.  Received  the  degree 
of  Mu.s.  Bac,  Cambridge,  iu  1836,  and  Mus. 
Doc,  1842.  He  was  one  of  the  founders  of 
Trinity  College,  London,  of  which  he  is  a 
member  of  the  couueil.  Works  :  Israel  iu 
the  Wilderness,  oratorio,  1879 ;  Morning 
aud  Evening  Service  in  F  (1832);  Turn 
Thee  again,  Thou  God  of  Hosts,  anthem 
(Gresham  gold  medal,  1837)  ;  Volume  of 
Church  Music  (1838)  ;  Magnificats  and 
Nunc  dimittis.  Authems  :  The  desert  shall 
rejoice  ;  Rend  your  hearts  ;  With  angels  aud 
archangels  ;  By  the  waters  of  Babylon  ;  God 
is  a  spirit ;  Part-songs,  and  songs,  etc. 
— Brown. 

DEATH  OF  NELSON,  THE,  a  popular 
English  song,  written  by  S.  J.  Arnold,  and 
first  sung  iu  Loudon,  in  the  opera  called 
The  Americans,  by  John  Brahani,  as  Wil- 
mot,  iu  1811.  The  first  verse  is  an  adapta- 
tion of  au  old  song,  or  ode,  written  on  the 


death  of  the  Duke  of  Cumberland.  The 
song  is  commonly  erroneously  attributed 
to  Dibdin.— Notes  aud  Queries,  4th  Series, 
si.  28  ;  .5th  do.,  i.  314. 

DEBILLEMONT,  JE.iN  JACQUES, 
born  at  Dijon,  Dec.  12,  1824,  died  in  Paris, 
Feb.  14,  1879.  Dramatic  composer,  pupil 
of  Alard  in  Paris,  and  member  of  the  or- 
chestra of  the  Opera  Comique.  He  studied 
composition  under  Leborne  and  Carafa,  re- 
turned to  Dijon,  and  brought  out  several 
operas  and  other  works.  In  1839  he  set- 
tled iu  Paris,  where  he  conducted  several 
prominent  orchestras,  directed  the  concerts 
of  the  Soeicte  des  Beaux-Arts  about  18G5, 
was  chef  d'orchestre  to  the  theatre  of  the 
Porte  Saint-Martin,  and  a  well-known  teacher 
and  musical  critic.  Works — Operas  :  C  utait 
moi,  Bouffes  Parisiens,  1860  ;  As-tu  dejeflne, 
Jacquot?,  Theatre  Dejazet,  1860;  Asta- 
roth.  Theatre  Lyrique,  1861 ;  Uu  premier 
avril,  Bouffes  Parisiens,  1862 ;  Les  inva- 
lides  du  travail,  cantata  ;  La  viperine,  Folies 
Mariguy,  1866  ;  Napoleon  devant  les  peu- 
ples,  cantata,  1867  ;  Le  grand-due  de  Ma- 
tajja,  Le  mousseline  club.  Menus  Plaisirs, 
1868 ;  Roger  Bontemps,  Fantaisies  Pari- 
sienues,  1869  ;  La  revanche  de  Candaule, 
1869  ;  Le  pantalon  de  Casiniir,  1873  ;  Le 
treizieme  couj)  de  minuit.  Theatre  du  Cha- 
teau d'Eau,  1874  ;  Le  miroir  magique,  bal- 
let, Porte  Saint-Martiu,  1876  ;  Les  trois 
sultanes.  Others  not  yet  produced  :  Les 
noces  de  Paiuu-ge,  La  Florinde,  Les  peches 
de  Monsieur  Jean,  Les  esclaves  d'Athys, 
Vercingetorix,  grand  opera,  Bocchori.s,  La 
cour  de  Tulipauo.— Fetis  ;  do..  Supplement, 
i.  244. 

DEBORA,  oratorio,  by  Jean  Francois 
Lesueur,  composed  in  1828. 

DEBORAH,  oratorio  iu  three  acts,  test 
by  Samuel  Humphreys,  music  by  Handel, 
first  performetl  at  the  King's  Theatre,  Lon- 
don, March  17,  173.3.  The  score  of  this, 
Handel's  second  oratorio,  dated  Feb.  21, 
1733,  is  in  the  Buckingham  Palace  collec- 
tion. It  contains  some  of  his  finest  music, 
and  the  overture  is  one  of  the  best  he  ever 


DECKER 


wrote.  Characters  represented  :  Deborah, 
Barak,  Abiuoain,  Sisera,  Jael,  1st  Israelite 
woman,  2d  do.,  3d  do.,  Chief  Pi'iest  of 
Israelites,  Chief  Priest  of  Baal,  Choiiis  of 
priests  and  Israelites,  Chorus  of  pi-iests 
of  Baal.  Published  first  by  Walsh;  full 
score  by  Hiiudelgesellschaft  (Leijjsic,  1869). 
— Rockstro,  Handel,  183  ;  Schoelcher,  Han- 
del, 127  ;  Chrysander,  ii.  281. 

DECKER,  CONSTANTIN,  born  at  Filrs- 
tenau,  Brandenburg,  Dec.  29,  1810,  died  iu 
18G8.  Pianist  and  dramatic  composer,  first 
instructed  by  his  father,  afterwards  in  Ber- 
lin pupil  of  Dehn  in  bai'mony  and  counter- 
point. Lived  at  Halle,  Leipsic,  Breslau, 
Konigsberg,  for  several  years  in  St.  Peters- 
burg, and  lastlj'  at  Potsdam.  Works — Op- 
eras:  Die  Gueusen  in  Breda  (1837) ;  Giaffir, 
der  Weiberfeiud  (1838)  ;  Isolde,  Grtifin  von 
Toulouse,  given  at  Konigsberg,  1852.  Pub- 
lished works  :  Quartet  for  two  violins,  viola 
and  bass,  op.  14  (Leipsic,  1837) ;  Grand 
sonata  foriaiauoforte,  op.  10  (Berlin) ;  Sonate 
facile,  op.  11  (Leipsic)  ;  Fantasias,  op.  8 
and  22  (Berlin  and  Leipsic)  ;  Songs  and 
romances  ;  Duets,  op.  G,  12,  13,  19. — Fetis  ; 
Mendel. 

DECKER,  JOACHIM,  organist,  living  in 
Hamburg  in  the  beginning  of  the  17th  cen- 
tury. His  most  important  work  is  the  book 
of  canticles,  and  choral  music  for  four 
voices,  written  in  conjunction  with  Prae- 
torius  and  Seheidemann  (Hamburg,  1604), 
with  the  following  title  :  Melodej'eu  Gesang- 
buch  darinn  D.  Luthers  und  ander  Christen 
gebreuchlichsteu  Gesenge. — Fetis  ;  Mendel. 

DECOURCELLE,  MAURICE  HENRI, 
born  in  Paris,  Oct.  11, 1815,  still  living,  1888. 
Pianist,  pupil  of  Herz  on  the  pianoforte, 
and  of  Barbereau  in  harmony  and  compo- 
sition. For  years  he  was  the  accompanist 
par  excellence  in  Paris,  and  every  artist  of 
importance  had  recourse  to  Lis  services. 
In  1848  he  began  to  teach.  Works  :  12 
litudes  melodiques,  op.  6  ;  exercices  pro- 
gressifs,  op.  11  ;  Repertoire  d'exercices, 
op.  30  ;  20  Etudes  caracteristiques,  ojd.  33  ; 
Exercices  et  preludes,  op.  41  ;  3  Nocturnes, 


op.  8  and  10  ;  Fantaisie  ck'gante,  op.  21  ; 
Galop  brillant,  op.  25 ;  Le  couvre-feu, 
Villanelle,  melodies,  op.  38 ;  L'automue, 
mulodie,  op.  31  ;  Chant  du  matin,  oyx  46  ; 
Dix  melodies  de  Mozart  transcrites  pour  le 
piano,  op.  51  ;  Serie  de  seize  ouvertures 
Cblebres,  transcrites  pour  deux  pianos  a 
huit  mains. — Fetis,  Supjjlement,  i.  245. 

DEDEKIND,  CONSTANTIN  CHRIS- 
TIAN, born  at  Reinsdorf,  Anbalt-Kothen, 
April  2,  1G28,  died  after  1697.  Church 
and  chamber  composer,  pupil  of  Chris- 
toph  Beruhardi,  KajJellmeister  at  Dres- 
den. He  was  musician  to  the  Elector  of 
Saxony,  poet  laureate,  and  musical  precep- 
tor. Works :  Aelbianische  BIusen-Lust, 
etc.,  4  vols.  (Dresden,  1G57  ;  this  consists  of 
175  poems  in  the  form  of  chansons,  from 
the  most  celebrated  poets)  ;  Davidisclie 
geheime  Music-Kammer  (Dresden,  1G63)  ; 
Siisser  Mandel-Kiirnen,  erstes  und  zweites 
Pfund,  von  ausgekilrnten  Salomonisclien 
Liebes-Worten,  etc.,  2  books  (Dresden, 
1G64)  ;  Belebte  oder  ruchbare  Myrrhen- 
Bliltter,  das  sind  zweystimmige  beseelte 
beilige  Leideus-Liedern  (Dresden,  1666)  ; 
Die  sonderbare  Seelen-Freude  (Dresden, 
1672) ;  Musikalischer  Jahrgang  und  Vesjjer- 
Gesang,  3  parts  (Dresden,  1674)  ;  David- 
ischer  Harfenschall  iu  Liedern  und  Melo- 
deyeu  (Frankfort) ;  Siugende  Sonn-  und 
Festtage-Andachten  (Dresden,  1683) ;  Mu- 
sikalischer Jahrgang  und  Vesper-Gesang  in 
2  Singstimmen  und  der  Orgel  (Dresden, 
1G94).— Allgem.  d.  Biog.,  v.  11;  Fetis; 
Mendel ;  Riemann. 

DEEPER,  AND  DEEPER  STILL,  tenor 
recitative  of  Jephtha,  iu  Handel's  Jephlha, 
Part  II.  ;  usually  sung  at  concerts  in  con- 
nection with  the  air  iu  Part  HI.,  '•  Waft  her, 
angels,  through  the  skies." 

DEERING.     See  Dering. 

DE  FERRARI.     See  Ferrari. 

DEFESCH,  WILLEJI,  born  iu  Amster- 
dam, close  of  the  17th  century,  died  in 
London  (?)  about  1758-60.  Violinist  and 
organist  of  the  Church  of  Notre  Dame  at 
Antwerp,  and  maitre  de  chapeUe  iu  1725, 


404 


deff£:s 


succeeding  Alfonso  cl'Eve ;  dismissed  in 
1731  for  cruelty  to  the  choir-hoys.  He 
went  to  London  and  ,.;. 

produced  there,  in 
1733,  an  oratorio,  Ju- 
dith, and  in  1745,  Jo- 
seph. His  published 
works  comjirise  sev- 
eral sets  of  sonatas 
and  concertos  for 
string  and  other  in- 
struments, solos  for 
violoncello,  a  collection  of  canzonets  and 
airs,  and  some  single  songs.  He  composed 
also,  in  1730,  a  Mass  for  four  voices  and  or- 
chesti-a  which  is  preserved  in  the  cathedral 
at  Antwerp. — Fc-tis  ;  Grove  ;  Biog.  nat.  de 
Belg.,  V.  83  ;  Mendel. 

DEFFfiS  (PIEKRE),  LOUIS,  born  in 
Toulouse,  France, 
July  25,  1819,  still 
living,  1888.  Dra- 
matic composer,  ini- 
pil  at  the  Conserva- 
toires of  Toulouse 
and  of  Paris,  at  the 
latter  under  Halevy 
and  Barbereau  in 
composition,  for 
which  he  won  the 
Having  pursued  his 
studies  in  Rome,  he  visited  parts  of  Italy 
and  Germanj-,  and  returned  to  Paris  in 
1852.  Works :  L'ange  de  Tobie,  cantata 
(1817)  ;  Symphony  for  grand  orchestra, 
Acadc'mie  des  Beaux-Arts,  1851  ;  Messe 
solennelle,  Notre  Dame,  1857.  Operas : 
L'anueau  d'argent,  one  act,  given  at  the 
Opera  Comique,  1855  ;  La  clef  des  champs, 
one  act,  ib  ,  1857  ;  Broskovauo,  two  acts. 
Theatre  Lyrique,  1858  ;  Les  petits  violons 
du  roi,  three  acts,  ib.,  1859  ;  Le  cafe  du 
roi,  one  act,  Theatre  Lyrique,  1861,  Opera 
Comique,  1868  ;  Les  Bourguignonnes,  one 
act,  Ems,  1862,  Paris,  1863  ;  PassC'  minuit, 
Bouffes  Parisieus,  1864  ;  La  boite  a  sur- 
prise, one  act.  Ems,  1861,  Paris,  1865  ;  La 
comedie   eu   voyage,  one   act.  Ems,  1867  ;  j 


grand  jirix  in  1817. 


Les  croqueuses  de  porames,  five  acts.  Me- 
nus Plaisirs,  1868 ;  Petit  bonhoinme  vit 
encore,  two  acts,  Boufles  Parisieus,  1868  ; 
Valse  et  menuet.  Ems,  1865,  Paris,  Theatre 
de  I'Athenee,  1870  ;  Le  trompette  de  Cham- 
borau,  Dieppe,  1877  ;  Les  noces  de  Fer- 
iiande.  Opera  Comi(iue,  Paris,  1878.  Un- 
published works :  La  nuit  de  noces,  Ei- 
quet  a  la  Houppe,  comic  operas  ;  Le  mar- 
chand  de  Veuise,  grand  opera,  four  acts. 
An  operetta.  La  lanterue  magique,  was 
published  in  the  Journal  des  Demoiselles  ; 
Two  masses  ;  Motets  ;  Overtures  ;  Choeurs 
d'Orphoon  ;  Patriotic  hymns  ;  Pieces  for  mil- 
itary baud  ;  Romances  ;  etc. — Fetis,  ii.  149  ; 
do.,  Sujjpk'ment,  i.  247. 

DEGOLA,  ANDREA  LUIGI,  born  in  Ge- 
noa in  1778,  died  ('?).  Organist,  pupil  of  Lui- 
gi  Cerro.  His  first  comioosition  was  a  mass, 
but  he  afterwards  wrote  an  opera  bufta,  II 
medico  per  forza,  performed  at  Leghorn 
in  1799,  and  several  minor  pieces.  Hav- 
ing become  maestro  di  cajipella  of  the 
priuciijal  church  of  Chiavari,  he  again  de- 
voted himself  to  church  composition  and 
wrote  many  masses,  vespers,  hymns,  and 
other  sacred  pieces.  He  was  at  one  time 
organist  of  a  church  at  Versailles,  and  gave 
lessons  in  singing  and  harmony  in  Paris. 
Published  works  :  L'utile  et  I'agreable,  col- 
lection of  pieces  for  pianoforte  ;  Methode 
de  chant;  Methode  daccompagnement  2Jour 
le  piano,  la  harjje  et  la  guitare  ;  Theme 
varie  pour  f)iano  avec  accomjjagnement 
de  c[uatuor ;  Several  romances. — Fetis; 
Mendel. 

DEGOLA,  GIOCONDO,  born  in  Genoa 
about  1803,  died  there,  Dec.  5,  1845.  Dra- 
matic composer  ;  son  and  pupil  of  Andrea 
Luigi  Degola,  and  pupil  of  Franyois  Mi- 
recki,  a  Polish  pianist.  He  became  a  pro- 
fessor of  singing,  and  composer  of  nocturnes 
and  romances  which  were  published  in  No- 
vara  and  Milan.  His  first  ojjera,  Adelina, 
was  given  at  Genoa  in  1837,  and  his  La 
donna  capricciosa,  an  opera  buffa,  in  1889. 
His  best  work,  Don  Papirio  Sindaco,  was 
given  in  Milan,  1841.     He  brought  out  a 


405 


DEIIAAN 


gi-and  cantata,  II  trionfo  di  Davide,  at  Genoa 
in  1842,  and  wrote  a  mass  for  two  choirs 
with  two  organs,  which  was  executed  iu  the 
same  year  iu  the  cathedral  at  Milan.  His 
opera,  Uu  duello  alia  pistola,  jMilau,  1843, 
was  not  successful. —Fetis ;  do.,  SujJijle- 
ment,  i.  247  ;  Mendel. 

DEHAAN.     See  Haan. 

DEH !  CON  TE  LI  PEENDI    See  Norma. 

DEHN,  SIEGFEIED  WILHELM,  born 
in  Altona,  Feb.  25,  1796,  died  in  Berlin, 
April  12,  1858.  He  studied  at  the  Gymna- 
sium of  Plun  and  became  a  clever  violon- 
cellist ;  finished  his  education  at  Leipsic, 
studied  harmony  and  composition  under 
Bernharil  Klein  in  Berlin,  iu  1823,  and  be- 
came a  finished  coutrapuutist.  After  trav- 
elling in  Germany  and  Italy,  he  became 
librarian  of  the  music  department  at  the 
Royal  Library  of  Berlin,  which  he  cata- 
logued and  to  which  he  added  raauy  valu- 
able works,  such  as  Poelchau's  collection  of 
the  original  MSS.  of  the  Bach  family.  He 
scored  500  motets  by  Orlando  Lasso,  and 
published  Bach's  six  concertos  for  various 
instruments  (1850),  and  a  collection  of  vo- 
cal compositions  iu  4,  5,  6,  8,  and  10  parts 
called  Sammluug  iilterer  Musik  aus  dem 
XVI.  und  XVn.  "jahrh.  (Berlin).  He  suc- 
ceeded Gottfried  Weber  as  editor  of  the 
musical  periodical  Cacilia  ;  re-edited  Mar- 
purg's  treatise  on  fugue  (Leipsic,  1858)  ; 
and  translated  Delmotte's  work  on  Orlando 
Lasso,  "  Biographische  Notiz  liber  Kolautl 
de  Lattre,"  Vienna,  1837.  He  had  distin- 
guished pupils,  among  them  Glinka,  Kul- 
lak,  Antou  Rubinstein,  Friedrich  Kiel.  He 
collected  much  material  for  FOtis'  "  Bio- 
graphie  des  Musicieus."  Theoretical  works  : 
"  Theoretisch-praktische  Harmonie  lehre  " 
(Berlin,  1840,  2d  ed.,  Leipsic,  1858)  ;  "  An- 
alyse dreier  Fugen,  J.  S.  Bach's  und  Bonou- 
cini's "  (Leipsijc,  1858)  ;  "  Lehre  vom  Cou- 
trapunkt  dem  Kanon  uud  der  Fuge  "  (1859). 
— Allgem.  d.  Biogr.,  v.  27  ;  Futis  ;  Mendel, 
V.  341  ;  Riemann. 

DEH  !   VIENI  ALLA  FINESTKA.     See 
Don  Giovanni. 


DEH,   VIENI,    NON  TAEDAR.    See 

Nozze  di  Figaro. 

DEIDAMIA,  Italian  opera  in  three  acts, 
libretto  by  Paolo  RoUi,  music  by  Haudel, 
represented  at  the  Liucolu's  luu  Fields  The- 
atre, London,  Jan.  10,  1741.  Deidamia  is 
the  daughter  of  Lycomedes  of  Scyros,  who 
became  the  mother  of  Pyrrhus  by  Achilles. 
This,  Handel's  last  Italian  opera,  with  which 
he  took  his  farewell  of  the  stage,  is  by  no 
means  the  weakest  of  his  dramatic  produc- 
tions. The  score,  the  MS.  of  which  is  in  the 
collection  at  Buckingham  Palace,  is  dated  at 
the  beginning  Oct.  27,  1740,  and  at  the  end 
Nov.  20,  1740.— Rockstro,  Handel,  213. 

DEISS,  MICHEL,  musician  to  the  Em- 
peror Ferdiuaud  I.  of  Germany,  middle  of 
the  10th  century-.  Iu  15C4  he  wrote  for 
the  Emperor's  obsequies  a  motet  for  four 
voices,  Quis  dabit  oculis  nostris,  preserved 
by  Pietro  Joaunelli  in  the  fifth  book  of  his 
Thesaurus  musicus.  This  collection  con- 
tains also  eight  other  pieces  by  Deiss,  for 
five  and  six  voices.  Abraham  Schad  has 
given  some  of  his  motets  iu  his  Prompt- 
uarium  musicuiu. — Fetis. 

DEJAZET,  EUGENE,  born  in  Lyons  in 
1825,  still  living,  1888.  Dramatic  com- 
poser, son  of  Pauline  Virginie  Dc-jazet,  the 
actress.  He  began  by  writing  songs  which 
his  mother  introduced  in  her  roles.  In 
1852  he  brought  out  an  opera-comique,  Un 
mariage  en  I'air.  Having  bought  in  Paris  a 
small  theatre  which  he  called  the  Theatre 
Dejazet,  be  produced  many  dramatic  works, 
among  them  :  Fanchette,  1860  ;  Double- 
deux,  18G1  ;  La  rosiere  de  quarante  aus, 
1862  ;  L'argent  et  I'amour,  1863  ;  La  nuit 
de  la  mi-carcme,  1864  ;  Monsieur  de  Belle- 
Isle,  La  tentation  d'Antoine,  1865  ;  Les  sept 
baisers  de  Buckingham,  1866  ;  and  the  mu- 
sic for  several  vaudevilles,  Le  ro3'aume  de  la 
betise,  Les  vacances  de  Tamour,  etc.,  and 
several  cantatas  written  for  special  occa- 
sions. His  .sister,  Mile  Hermine  Dt'jazet, 
wrote  the  music  of  an  operetta,  Le  diable 
rose,  which  was  given  at  his  theatre  in 
1859.— Fetis,  Supplement,  i.  247. 


40C 


Dfi.TAZET 


DtjAZET,  JULES,  bora  in  Paris,  IMarcli 
17,  180G,  died  at  Ivry,  Aug.  29,  18iG.  Pi- 
auist,  pupil  at  the  Conservatoire  of  Zinnner- 
mau  on  the  pianoforte,  for  which  he  took 
the  second  prize  in  18'23,  and  the  first  in 
1824,  and  of  Fctis  in  composition.  Works : 
Grand  trio  for  pianoforte,  violin  and  violon- 
(;ello  (Paris,  Lemoine)  ;  Duos  for  pianoforte 
and  violin,  op.  IS),  24,  31  ;  do.  for  jjiauo- 
forte  and  violoncello,  op.  2,  13,  39  ;  Fan- 
tasias for  pianoforte,  op.  3,  20,  22,  30,  35  ; 
Rondos  for  do.,  op.  5,  8,  9,  11,  12  ;  Thames 
varies,  valses,  romances,  etc. — Fetis. 

DEL.4BAREE,  LOUIS  ALBERT,  born 
in  Soissons,  July  12, 1809,  still  living,  1888  (?). 
Oboe  player,  pupil  in  1832  at  the  Paris 
Conservatoire.  He  studied  the  oboe  also 
under  Vogt,  and  obtained  the  2d  prize  in 
1836,  and  the  1st  in  1837.  In  1838  he  be- 
came i^rofessor  at  the  Ghent  Conservatoire, 
and  member  of  the  orchestras  of  the  theatre 
and  the  Casino,  and  a  few  years  after  first 
oboist  of  the  Royal  Theatre,  Brussels.  Pub- 
lished works  :  La  I'omanesca,  concert  piece 
with  quartet  or  pianoforte  ;  Morceau  de 
concert,  on  two  of  Hah'vy's  melodies,  with 
orchestra  or  pianoforte  ;  Souvenir  d'Irlande, 
concert  jjiece  with  quartet  or  pianoforte  ; 
Souvenirs  d'Ecosse,  idem  ;  Noel,  morceau 
de  salon,  oboe  and  pianoforte  ;  and  others 
(Paris). — Fetis. 

DELACOURT,  HENRI,  French  musi- 
cian of  the  IGth  centur^y.  In  1547  he  was  a 
singer  in  the  Cathedral  of  Soissons,  and 
afterwards  musician  to  the  Emperors  Fer- 
dinand I.  and  Maximilian  H.  of  Germany. 
Pietro  Joannelli  gives  six  of  his  motets  for 
four,  five,  and  six  voices  in  "  Novus  Thesau- 
rus musicus." — Fotis. 

DELALRE,  JACQUES  AUGUSTE,  born 
at  Moulins  (AUier),  France,  March  10,  1795, 
died  in  Paris  in  September,  18G4.  Ama- 
teur musician  and  composei-,  studied  music 
while  practising  law  ;  pupil  of  Choron,  and 
in  harmony  of  Reicha.  He  was  secretary 
of  the  Athi'nee  Musical,  Paris,  in  1830,  con- 
tributor to  the  Revue  Musicale,  and  for 
thirty-one   years   member   of    the    Societe 


Libre  des  Beaux-Arts,  of  which  he  was 
elected  president  seven  years.  He  was  the 
author  of  a  number  of  pamphlets  on  musi- 
cal topics  published  in  the  annals  of  that 
society.  Works :  Stabat  Mater,  4  voices 
and  orchestra  (1826-1827)  ;  La  Grece,  scene 
lyrique,  chorus  and  orchestra ;  besides,  a 
grand  symphony  (1830)  ;  a  mass ;  3  quar- 
tets, quintets,  and  other  music  for  violin, 
and  romances,  published  in  Paris. — Fetis  ; 
do.,  Supplement,  i.  248 ;  Mendel,  iii.  103  ; 
Ergiiuz.,  80. 

DE  LANGE,  SAMUEL,  born  in  Rotter- 
dam, Feb.  22,  1840,  still  living,  1888.  Pi- 
anist and  organist,  son  of  Samuel  de  Lange, 
organist  of  Rotterdam  (1811-1884).  After 
a  professional  tour  with  his  brother,  Daniel 
de  Lange,  violoncellist,  and  a  three  years' 
residence  in  Lemberg,  where  they  were  pro- 
fessors at  the  Conservatorium,  he  returned 
to  Rotterdam,  and  became  in  1864  organist 
of  the  Walloon  Churcli  and  professor  in  the 
musical  school.  In  1875  he  went  to  Paris, 
and  finally  settled  in  Cologne  as  professor 
of  the  organ  and  pianoforte  at  the  Con- 
servatorium. Works :  Quartets  for  string 
instruments,  op.  15,  18  ;  Trio  for  piano- 
forte, violin  and  violoncello,  op.  21 ;  Sere- 
nade for  pianoforte  and  string  instruments  ; 
Symphony  for  orchestra  ;  Sonatas  for  or- 
gan, 015.  5,  14  ;  Marehenbilder  for  piano- 
forte, op.  7  ;  etc. — Fetis,  Supplement,  249  ; 
Mendel,  Ergiinz.,  80. 

DE  LA  RUE  (De  Larue),  PIERRE,  born 
in  Picardy,  lived  at  the  end  of  the  15th  and 
beginning  of  the  16th  centuries.  He  is 
called  also  in  the  old  collections  de  la  Ru- 
ellien  and  Petrus  Platensis.  A  pupil  of 
Johannes  Okeghem,  he  became  a  priest, 
belonged  to  the  chapel  of  the  dukes  of 
Burgimdy  from  1545,  and  was  the  favourite 
comi^oser  of  Marguerite  of  Austria.  In  1501 
he  was  prebendary  of  Coutrai,  and  later, 
until  1510,  at  the  church  of  Saint-Aubin, 
Namur ;  he  is  said  by  Bruschius  to  have 
composed  the  Lamentations  of  Jeremiah  in 
1540,  but  that  would  seem  to  be  an  impos- 
sibility, as  it  would  make  him  a  composer 


407 


DELATRE 


at  a  very  advanced  age.  The  first  publica- 
tiou  containing  bis  works  is  Ottavio  Petrucci 
de  Fossombrone's  "  Harmonica  Musices  Od- 
becaton,"  3  vols.  (Venice,  1501),  in  which 
are  several  of  bis  four-part  songs,  Tons  les 
regri'S,  Pourquoy  non,  Ce  n'est  pas,  Fors 
seulement,  and  Myn  beer.  The  same  editor 
published  Canti  cento  cinquauta  (1503),  in 
which  are  other  four-joart  songs.  Jlisse  de 
la  Kue,  Beati  Yirginis,  etc.,  aj^peared  in 
1503  ;  Salve  Regina,  4  voc,  was  inserted  in 
Motetti  della  Corona  (1505) ;  and  one  of  his 
masses  in  Missarum  diversorum,  etc.,  lib.  i. 
(Petrucci,  1508).  Fifty  of  bis  masses  were 
published  in  1513,  and  one  in  1515,  in  the 
volume  of  Antoiue  de  Fevin.  lu  a  collec- 
tion by  Andrea  Antico  da  Moutona  (Rome, 
151G),  are  two  other  masses  for  four  voices. 
Liber  selectarum  Cantionum,  etc.  (Augs- 
burg, 1520),  contains  several  of  his  motets. 
His  works  were  published  also  in  several 
richly  decorated  volumes,  about  1530,  by 
the  order  of  Marguerite  of  Austria,  who 
was  a  patroness  of  the  arts.  One  of  the 
volumes,  now  in  the  Royal  Library  of  Brus- 
sels, contains  six  masses  for  five  voices  and 
one  for  four.  In  a  collection  published  at 
Nuremberg  (1538)  is  a  mass  for  four  voices, 
and  in  another  (1539)  are  three  reprinted 
from  Petrucci's  collection.  Several  of  bis 
chansons  are  in  Selectissimse  uecnon  fami- 
liarissimfe  cantiones  ultra  centum  (Augs- 
burg, 1510),  and  in  Tricinia  tum  veterum, 
etc.,  in  arte  musica  sympbouistarum  latina, 
germauica,brabantica  et  gallica  (Wittenberg, 
1542)  ;  Several  madrigals  for  four  voices 
were  published  bj'  Gardane  (Venice,  1544), 
and  are  reprinted  by  Buruej'.  Chansons  a 
deux  vols  are  found  iu  the  collection 
Bicinia  gallica,  latina  et  germanica  (Witten- 
berg, 1545) ;  other  compositions  in  Lamen- 
tationes  Hieremifc  prophetse  (Nuremberg, 
1549),  and  in  Psalmorum  selectorum,  etc. 
(Nuremberg,  1553)  ;  a  motet,  Lauda,  anima 
mea,  Dominum,  is  in  a  collection  of  motets 
(Nuremberg,  15G4).  In  Harmoniie  suavissi- 
niit',  etc.  (Nuremberg,  15G7)  are  several  of 
his  vocal  compositions,  and  a  collection  of. 


fugues  (Lauingen,  Bavaria,  1587)  contains 
some  of  his  oi-gan  music.  Among  the  ar- 
chives of  Mechlin  is  a  volume  in  MS.  of 
four  masses  composed  for  the  chajjel  of 
Marguerite  of  Austria  ;  and  the  libraries  of 
Munich  and  of  the  Pontifical  chapel  also 
contain  bis  MS. — Biog.  nat.  de  Belg.,  v.  325  ; 
Ambros,  iii.  235. 

DELATRE,  CLAUDE  PETIT-JAN, 
Flemish  comjDoser  from  about  1540  to 
1580.  He  is  best  known  under  the  name 
of  Petit-Jan.  He  was  maitre  de  chapelle  to 
the  Bishop  of  Liege  in  1555,  and  subse- 
quently master  of  the  choristers  of  the 
Cathedral  of  Vendome.  Iu  157G  he  took 
the  prize  of  the  Silver  Lyre  at  the  Puy, 
or  mvisical  competition  of  Evreiis,  in  Nor- 
mandy, for  a  chanson  for  six  voices,  begin- 
ning :  Ce  riz  plus  doux.  In  Hortus  !Musa- 
rum  (Louvain,  1552),  and  in  Liber  sextus 
cantionum  (Louvain,  1558),  Phalesius  gives 
some  information  about  him  and  some  of 
his  compositions.  There  are  five  of  his 
chansons  in  the  first  three  books  of  the  last 
collection,  and  twenty-nine  in  the  sixth 
book,  which  is  entitled  :  Sixiesme  livre  des 
chansons  a  quatre,  nouvellement  composez 
et  mises  en  musicque  f)fir  Maistre  Jehau 
de  Liitre  (Louvain,  1555).  His  compositions 
also  appear  in  the  following  collections  : 
Cantiones  sacrse  (Susato,  Autwerjj,  1.54G- 
1547) ;  Recueil  de  fleurs  produictes  de  la 
divine  musique  a  trois  jDarties  de  par  Cle- 
mens non  Papa,  Thomas  Cricquillon,  et 
aultres  excellens  musiciens,  premiire,  deu- 
zieme  et  tiers  livres  (Louvain,  1560)  ;  La 
Fleur  des  chansons  a  trois  parties,  contenant 
uu  recueil  produit  de  la  divine  musique  de 
Jean  Castro,  Severin  Cornet,  Noe  Faignient 
et  aultres  excellens  auteurs,  etc.  (Louvain, 
Antwerp,  1574).  This  collection  contains 
one  of  his  best  songs:  Aupres  de  vous. — 
Fetis  ;  Mendel,  Ergiinz.,  80. 

DELATRE,  OLIVIER,  Belgian  musician 
of  the  first  half  of  the  IGtb  centurj-.  He  is 
sometimes  called  Olivier  in  the  collections 
of  that  time,  especially  in  Attaignant's, 
in  which  are  five  of  bis  four-part  chansons 


40S 


DELATTTJE 


(Paris,  1539-1540).  Another  of  his  foiir- 
2)art  chansons  is  in  the  Parangou  des  clian- 
sous,  liv.  i.,  X.  (Jacques  Moderne,  Lyons, 
1540-1543).  A  motet  for  five  voices  on  the 
text,  Sancti  niei,  is  in  Sacrarum  Caiitio- 
nuni,  etc.  (Waeh'ant  and  Laet,  Antwerp, 
1554-1555).  In  Jardin  Musical,  a  collec- 
tion by  the  same  (Antwerp,  no  date),  is  a 
clianson  for  four  voices,  beginning,  Tant 
faut-il  que  soit. — Fotis;  Biog.  nat.  de  Bclg., 
V.  230. 

DELATTKE,  PvOLAND.     See  Lrti^.w. 

DELDEVEZ,   EDOUAED   MARIE  ER- 
NEST, born  in  Paris,  May  31,  1817,  still 
living,  1888.     Violinist,  pupil  from  1825  at 
the  Conservatoire,  where   he  took  the  2d 
prize  for  solfege  in  1820,  and  the  1st  in  1831  ; 
then  pupil  of  Habeneck  on  the  violin,  win- 
ning the  2d  prize  in  1831  and  the  1st  in  1833. 
He  studied  counterpoint  and  fugue  under 
Halcvy,  and  took  the  2d  prize  in  1837  and 
the  1st  in  1838  ;  and  composition  under  Ber- 
ton,  winning  the  2d  grand  prix  de  Rome 
in  1838  for  his  cantata,  Loyse  de  Moutfort. 
In  1839  he  published  in  Paris  a  collection 
of  songs  with  jjianoforte    accompaniment, 
and  in  1840  he  appeared  at  a  Conservatoire 
concert,  playing  his  own  ouverture  to  Rob- 
ert Bruce,  and  his  prize  cantata.     In  1859 
he  became  second  chef  d'orchestre  at  the 
Opera,  and  was  chef  from  1872  to  1877, 
when  he  retired.     Until  1883  he  also  con- 
ducted the  Societe  des  Concerts  du  Con- 
servatoire.    He  is  a  chevalier  of  the  Legion 
of  Honour.     Works :  Lady  Henrietta,  bal- 
let (3d  act)  ;  Eucharis,  ballet,  1844  ;  Paqui- 
ta,   ballet,    1846  ;   Vert- Vert,   ballet,   1851  ; 
Requiem  Mass,  1853  ;  First  and  second  sym- 
phonies, op.  2  and  8  ;  Trios  for  pianoforte, 
violin,  and  violoncello,  op.  0  ;  Mazarina,  bal- 
let, op.  11  ;  O  salutaris,  soprano  and  tenor, 
with  organ  or  pianoforte,  op.  14  ;  Symphonic 
hero'i-comique,  op.  13  ;  La  vendetta,  soprano 
and  tenor,  scene  lyrique  ;  Velk'da,  scone  ly- 
rique,  soprano,  chorus,  and  orchestra,  op. 
17  ;  Choeur  religieux  for  soprano,  contralto, 
tenor,  and  bass,  op.  18  ;  Le  violon  enchantc, 
grand  opera,  op.  20  ;  Yauko,  le  bandit,  bal- 


let, op.  21  ;  Quintet  for  2  violins,  viola,  vi- 
oloncello, and  double-bass,  op.  22  ;  6  ro- 
mances sans  paroles,  op.  24 ;  Hymnes  a 
trois  voix  ;  Hymnes  a  quatre  voix  ;  and  a 
cantata  (1853).  He  has  published  also  : 
Curiositcs  musicales,  notes,  analy.ses,  inter- 
pretations de  certaines  particularity's  con- 
tenues  dans  les  oeuvres  des  grands  maitres 
(Paris,  1873)  ;  La  Notation  de  la  nuisique 
classique,  comparee  a  la  notation  de  la  mu- 
sique  moderne,  et  de  I'execution  des  petites 
notes  en  general;  Trilogie,  containing:  1, 
Principe  des  intervalles  et  accords  ;  2.  Re- 
alisation des  partimenti  de  Fenaroli  ;  3, 
CEuvres  des  violonnistes  celebres  depuis 
Corelli  jusqu'ii  Viotti,  choisies  et  classee.s  ; 
Transcriptions  et  realisations  d'reuvres  an- 
ciennes. — Fetis  ;  do.,  Sujipli'meut,  i.  250  ; 
Mendel  ;  do.,  Ergilnz.,  81  ;  Riemanu. 

DELEHELLE,  JEAN  CHARLES  AL- 
FRED, born  in  Paris,  Jan.  12,  182fi,  still 
living,  1888.  Dramatic  composer,  piupil  at 
the  Conservatoire  imder  Colet  and  Adam, 
winning  the  first  grand  prix  de  Rome,  in 
1851,  for  his  cantata  Le  prisonnier.  From 
1851  to  185(1  he  lived  in  Rome  and  Naples, 
visiting  meanwhile  the  principal  cities  of 
Germany.  "Works  :  L'lle  d'amour,  operetta, 
given  at  the  Bouftes  Parisiens,  1859  ;  Mon- 
sieur Polichinelle,  comic  opera,  Athenee, 
1873.  His  paper  on  the  genius  of  Auber 
was  published  in  the  Correspondance  litte- 
raire  in  1861. — Fi'tis  ;  do..  Supplement,  i. 
251. 

DELGADO,  C0S:M0,  born  in  Cartaxo  in 
the  17th  century.  Portuguese  singer  and 
composer  of  a  great  deal  of  music  preserved 
in  the  Convent  of  Santo  Jeronimo,  Lisbon. 
He  is  the  author  of  a  theoretical  work,  Ma- 
nual de  musiea,  etc.,  still  in  MS. — Fetis. 

DELIBES,  LI'^O,  born  at  Saint-Germain- 
du-Val  (Sarthe),  in  1836,  still  living,  1888. 
Dramatic  composer,  pupil  at  the  Paris  Con- 
servatoire, where  he  won  the  second  prize 
for  solfege  in  1849,  and  the  first  in  1850  ; 
of  Le  Couppey  on  the  pianoforte,  of  Bazin 
in  harmony  and  accompaniment,  taking  the 
second   accessit  for  harmony  in   1854 ;  of 


DELIOUX 


Adam  iu  composition,    and  of  Benoist  on  [ 
the  orji'an.     In   1853  he  became  accompa- 
nist at  the  Theatre 
Lvrique  and  organ-  i 
ist   of  the  Church 
of    Saint- Jean    et : 
Saint-Fraufois.    In 
1855    he    brought 
out   his  first  oper- 
etta,  and  he   soon 
became   a  popular 
dramatic    com- 
poser,   one   of   the 
best   writers   of   light   sparkling  music   of 
the   modern   French  school.     In    18G5   he 
gave  up  his  position  at  the  Lvrique  to  ac- 
cept that  of  second  chef  de  chant  at  the 
Opera,  where  he  gained  new  popularity  as 
the  composer  of  the  higher  class  of  ballets. 
In  1880  he  became  professor  of  composi- 
tion at  the  Conservatoire,  and  in  188-1  be- 
came a  member  of  the  Institut,  as  succes- 
sor to  Victor  Masse.     Works— Operas  and 
ballets :  Deux  sous  de  charbon,  operetta, 
given  at  the  Folies  Nouvelles,  1855  ;  Deux 
vieilles  gardes,  do.,  Six  demoiselles  a  ma- 
rier,  do.,  ib.,  1856  ;  Maitre  Gritiard,  comic 
opera.  Theatre  Lyrique,  1857 ;  L'omelette 
a  la  Follembouche,  Bouifes  Parisiens,  1859  ; 
Monsieur  de  Bonne-Etoile,  ib.,  18G0  ;  Les 
Musiciens  de  I'orchestre  (with  Erlanger  and 
Higuard),  ib.,  1861 ;  Mon  ami  Pierrot,  ope- 
rette,  Ems,  1862  ;  Les  eaux  d'Eras,  do.,  ib.; 
Le  jardiuier  et  sou  seigneur.  Theatre  Lv- 
rique,  1863 ;   La   tradition,   Le   serpent   a 
plumes,  Boutfes  Parisiens,  1861 ;  Le  boeuf 
Apis,   ib.,  1865  ;    La    source,    ballet   (with 
Miukous),    Theatre    Lyrique,    1866;    Mal- 
brough  s'en  va-t-en  guerre,  operette  (with 
Bizet,  Jonas,  and  Legouix),  Athenee,  1867  ; 
L'Ecossais  de  Chatou,  fantaisie,  Bouffes  Pa- 
risiens, 18()i)  ;  La  cour  du  roi  Petaud,  ope- 
ra-bouife,  Variutes,   1869  ;    CopjKlia,  ou   la 
fille  aux  j-eux  d'email,  ballet,  Opera,  1870, 
New  York,  1887  ;  Le  7-vi  I'a  dit,  comic  op- 
era, Oi^era  Comique.  1873,Vienna,  1874  ;  Si/I- 
vie,  ou  la  nymphe  de  Diane,  ballet,  Opera, 
1876  ;  Jean  de  Nivelle,  opera-comique.  Opera 


Comique,  1880  ;  Lakme,  do.,  ib.,  1883  ;  Le 
Koi  des  Montagues  ;  Le  Don  Juan  Suisse 
(MS.);  La  priucesse  Eavigotte  (do.) ;  Alger, 
cantata.  Opera,  1865.  As  a  member  of  the 
commission  for  teaching  singing  in  the 
government  schools  at  Saint-Denis  and  at 
Sceaux,  he  has  written  a  mass  and  several 
choruses  for  children's  voices.  He  has  also 
written  for  the  Societe  Orpheonique  choruses 
for  men's  voices,  such  as  Les  lansquenets, 
Les  pilierari,  C'est  Dieu  !,  Avril,  Marche  des 
soldats.  Pastorale,  Trianon,  etc.,  some  of 
which  obtained  prizes  ;  and  many  choruses 


/^  ^^^1^ 


for  female  voices  with  orchestra. 
A  collection  of  Quinze  Melodies 
with    j)ianoforte   accompaniment, 
written   in  the  style  of  the  Ger- 
man Lieder,  the  most  remarkable  of  which 
are  Myrto,  Avril,  and  Bonjour,  Suzon,  has 
been  published  in  Paris,  and  his  3Iorl  d'Or- 
phee  was  given  there  at  a  concert  in  1877. 

DELIOUX  DE  SAVIGNAC,  CHARLES, 
born  at  Lorient  (Morbihan),  in  April,  1830, 
still  living,  1888.  Pianist,  self-taught,  and 
in  Paris  pupil  of  Barbereau  in  harmony, 
and  at  the  Conservatoire  of  Halevy  in  com- 
position. Works  :  Yvonne  et  Loic,  comic  op- 
era, given  at  the  Theatre  du  Gymnase,  1851: ; 
Marche  hongroise,  op.  11 ;  Fete  a  Seville, 
op.  23  ;  Le  ruisseau,  op.  25  ;  IMandoline, 
op.  28  ;  Le  Son  du  Cor,  op.  34  ;  Le  Carna- 
val  espagnol,  op.  38 ;  Les  Bohemiens,  op. 
39 ;  Les  matelots,  op.  40 ;  Fantaisie  sur 
Faust,  op.  54 ;  Le  lac,  op.  88 ;  Pensees 
musicales,  op.  89  ;  Allegro  agitato,  op.  94  ; 
Recueil  pour  le  piano,  op.  71-80  ;  Vocal 
Melodies.— Fetis,  Supplement,  i.  253. 

DfiLIRE,  LE,  ou  les  suites  d'une  erreur 
(Frenzy,  or  The  Consequences  of  an  Error), 
opera-comique  in  one  act,  text  by  Saint-Cyr, 
music  by  Barton,  represented  in  Paris,  Dec. 
6,  1799.  This,  rather  a  drama,  than  an  ope- 
ra-comique, is  one  of  Berton's  best  works. 

DE  LISLE,     See  Bougel  de  Lisle. 


410 


BELLA 


BELLA  BELLA,  DOMENICO,  laaestio  !  two    were   posthumous. — Futis  ;    Clement, 
di  cappella  of  the  Cathedral  of  Treviso  at  the   Mus.  ce-lcbres,  262  ;  Meudel  ;  Kiemaiiu. 
beginning  of  the  18th  century.     Composer       DELL'  ELISIR  IMLRABILE.    See  Eimre 
of  church  and  instrumental  music.     Works  :   d'  Aniore. 

12  Sonatas  for  two  violins,  violoncello  ohli-  DELLER,  FLORL\N,  born  in  Wiirtem- 
gato,  and  harpsichord  (Venice,  1704).  The  berg  about  1730,  died  in  Munich  in  1774. 
following  are  in  the  Imperial  Library,  Vi-  He   was   court   composer   in   Stuttgart  in 


enna  :  2  masses  a  cappella,  for  four  voices  ; 
Mass  for  do.  ;  Third  mass  for  eight  voice.?, 
with  violins  and  organ  ;  Mass  for  two  tenors 
and  bass  ;  Gloria  for  four  voices,  with  vi- 
olins and  organ  ;  Requiem  Mass  a  cappella 
for  two  tenors,  baritone,  and  bass ;  do.  for 
four  voices  and  organ  ;  Psalm  for  four 
voices  and  orchestra  ;  3  Psalms  for  eight 
voices,  with  violins  and  organ  ;  Te  Deum 
for  six  voices  ;  Veni  Creator  for  four 
voices  and  instruments  ;  Vem  sponsa 
Christi,  for  do. ;  Salve  Regina  for  soprano, 
with  violins,  violoncello,  and  basso  coutinuo. 
— Fctis. 

BELLA  MARIA,  BOMINIQUE,  born  in 
Marseilles  in  17G8  (1778  ?),  died  in  Paris, 
March  9,  1800.  Bramatic  composer,  son 
of  Bominique  Delia  Maria,  mandolin  player. 
He  excelled  first  on  the  mandolin,  and  then 
became  a  fine  violoncellist.  When  eighteen 
years  old  he  produced  at  Marseilles  an  op- 
era which,  though  faulty,  showed  talent  for 
composition.  He  studied  afterwards  the 
theory  of  music  in  Italy  for  sis  years,  his 
last  teacher  being  Paisiello,  and,  soon  after 
leaving  him,  wrote  six  opere  bufi'e  for  sev- 
eral Italian  theatres,  three  of  which  were 
successful.  In  1706  he  went  to  Paris,  where 
Alexandre  Buval  recognized  his  talent  and 
intrusted  him  with  the  music  for  his  piece 
Le  prisonnier,  which  was  wonderfully  suc- 
cessful at  the  Ojjcra  Comique  in  1798.  He 
wrote  quite  rapidly  after  this,  composing 
six  operas  in  the  four  following  years,  but 
none  of  these  were  ever  as  popular  as  the 
first.  He  died  young,  leaving  much  unpub- 
lished music  and  fragments  of  operas.  Pub- 
lished works  :  L'opera-comique,  L'oncle 
valet,  Le  vieux  chateau,  Jacquot,  ou  I'ecole 
des  mores  (1799)  ;,  La  maison  des  marais 
(1800) ;  La  fausse  duOgne  (1802).     The  last 


1760,  and  from  1770  lived  in  Ludwigsburg, 
Vienna,  and  Munich.  He  is  jjrobably  iden- 
tical with  the  comjjosers  Deler  and  Teller. 
W^orks  :  La  contessa  per  aniore,  opera ; 
Orpheus  und  Eurydice,  Pygmalion,  Der 
Sieg  des  Neptuu,  Die  beiden  Werther,  bal- 
lets ;  Church  and  concert  music. — Mendel ; 
Fctis. 

DELPANE,  DOMENICO,  born  in  Rome 
about  1629.  He  was  cantor  of  the  Pon- 
tifical Chajjel,  \Yhere  he  was  received  as  so- 
prano in  1654.  He  published  at  Rome  a 
collection  of  motets  for  two,  three,  four-, 
and  five  voices.  Much  of  his  MS.  music 
is  in  the  archives  of  the  Sixtine  Chapel. 
—Fctis. 

DELPHIS  ET  MOPSA,  opera  in  two  acts, 
text  by  Guy,  music  by  Gretry,  first  rep- 
resented at  the  Opera,  Paris,  Feb.  16,  1803. 
One  of  the  last  efforts  of  Gretry's  muse. 

D^^LUGE,  LE,  biblical  poem  in  three 
parts,  text  by  Louis  Gallet,  for  solos, 
chorus,  and  orchestra,  by  Saint-Saens,  op. 
45,  first  performed  in  Paris,  Concert  du 
Chatelet,  March  5,  1876  ;  and  in  Boston, 
ilass.,  in  the  Music  Hall,  May  7,  1880. 

DELUGE,  THE,  oratorio,  by  Frederick 
Hymen  Cowen,  given  at  the  Brighton  (Eng- 
land) Festival,  February,  1878. 

DEJIANTIUS,  CHRISTOPH,  born  in 
Reichenberg,  15G7,  died  in  Freiberg,  Sax- 
ony, April  20,  1643.  He  was  cantor  at 
Zittau  about  1596,  and  in  1707  at  Freiberg. 
He  composed  sacred  and  secular  songs, 
dances,  threnodies  and  funeral  laments,  be- 
sides two  elementary  works  :  "  Isagoge  artis 
musicte,"  etc.  (Nuremberg,  1605  ;  12th  ed., 
Freiburg,  1671);  ''Forma  musices,  Griind- 
licher  und  kurtzer  Bericht  der  Singekunst  " 
(Budissiu,  1592),  a  very  rare  work,  a  copy 
of  which  is  in  the  Royal  Library,  Berlin. 


411 


DEMAE 


Some  of  his  music  is  fouud  iu  collections  of 
the  time  ;  four  eight-jmrt  motets  in  Floii- 
legium  Portense,  and  a  short  Domine  ad 
adjuvandum  for  four  voices,  iu  Proske's 
Musica  Diviua,  Lib.  Vesperarum.  Works 
mentioned  by  Fotis :  Magnificat  (Frank- 
fort) ;  Weltliche  Lieder  mit  5  Stimmen 
(Nuremberg,  1595) ;  LXXVn  auserlesene 
liebliche  Polnischer  und  Teutscher  Ai't 
Tiintze  mit  und  ohue  Texte,  etc.  (Nurem- 
berg, IGOl)  ;  Triades  i^recum  vespertiuarum 
ad  8  tonos  et  modos  concinnatfe  (Nurem- 
berg, 1G02)  ;  Conviviorum  Delicije  (Nurem- 
berg, 1608),  Couvivalium  conceutuum  far- 
rago, etc.  (Nuremberg,  1609)  ;  Corona  har- 
monica, etc.  (Leipsic,  1610) ;  Threnodiae, 
etc.  (Leipsic,  IGll) ;  Erster  Theil  newer 
teutscher  Lieder,  etc.,  Zweiter  Theil  der- 
selben  (Leipsic,  1615) ;  Timpauum  mili- 
tare,  etc.  (Nuremberg,  1615)  ;  Te  Deum 
laudamus,  5  voc.  (Freiburg,  1618)  ;  and 
other  church  music  ;  Threnodite,  etc.  (Frei- 
berg, 1620).— Allgem.  d.  Biogr.,  v.  45  ;  Fe- 
tis  ;  Riemann  ;  Mendel. 

DEM.\E,  JOHANN  SEBASTIAN,  born 
at  Gauaschach,  near  Wiirzburg,  June  29, 
17G3,  died  at  Orleans  in  1832.  Pupil  of 
Richter,  who  was  maitre  de  musique  at  the 
Cathedral  of  Strasburg  ;  having  been  organ- 
ist and  instructor  at  Weissenburg  for  three 
years,  he  went  to  Vienna  to  profit  by  the 
advice  of  Haydn,  and  thence  to  Italy,  where 
he  finished  his  studies  under  his  uncle 
Pfeifter  (Michel  Traugott?).  In  1788  he 
went  to  Paris,  and  settled  at  Orleans,  where 
he  became  organist  of  Saint-Paterne  in 
1802. — "Works:  Three  operas;  Masses;  Te 
Ueuni  with  full  orchestra  ;  6  symphonies  ;  2 
collections  of  military  music  for  grand  or- 
chestra ;  4  concertos  for  pianoforte  ;  2  do. 
for  violin ;  3  do.  for  harp  ;  concerto  for 
horn  ;  4  quartets  for  violin  ;  10  works  of 
duos  for  violin  ;  3  duos  for  horn  ;  4  do.  for 
pianoforte  and  harp  ;  4  works  of  sonatas  for 
pianoforte  ;  4  do.  for  harp ;  methods  for  vio- 
lin, pianoforte,  and"  clarinet.  His  brother, 
Joseph  Detnar  (born  1774),  was  an  able 
violinist  and  composer. — Fetis  ;  Gerber. 


DEMELIUS,  CHRISTIAN,  born  at 
Schlettau,  near  Aunaburg,  Saxony,  April  1, 
1643,  died  at  Nordhausen,  Nov.  1,  1711. 
Church  composer,  pupil  of  the  organist 
Chiistoph  Knorr,  then  of  Adam  Drese,  at 
Nordhausen,  where  he  became  cantor  in 
1669.— Works  :  Vortrab  von  VI.  Motetten 
und  Arien  mit  4  Stimmen  (Sondershausen, 
1700)  ;  Tirocinium  musicum,  etc.  (Nord- 
hausen).— Allgem.  d.  Biogr.,  v.  46  ;  Futis  ; 
Gerber. 

DEMERSSEMAN,  JULES  AUGUSTE 
EDOUARD,  born  at  Houdschoote,  Belgium, 
Jan.  9,  1833,  died  in  Paris,  Dec.  1,  \866. 
Flute  virtuoso,  pupil  at  the  Paris  Conser- 
vatoire from  1844,  studied  solfege  under 
Tariot,  the  flute  under  Tulou,  harmony 
under  Colet,  and  counterpoint  and  fugue 
under  Leborue.  He  won  the  accessit  for 
solfege  and  first  prize  for  flute  in  1845, 
when  only  twelve  years  old ;  first  prize  for 
solfi'ge  in  1846,  and  first  accessit  for  fugue 
in  1852.  Works :  La  Priucesse  Ka'ika,  oper- 
etta, 1859  ;  fantasias  for  the  flute,  and  sev- 
eral orchestral  pieces,  among  which  was  a 
concerto  for  flute  with  orchestra,  played 
at  the  Casino  concerts.  He  published  also 
some  charming  songs,  and  wrote  a  series  of 
pieces  for  Sax  instruments. — Fetis,  Suj)i)le- 
ment,  i.  257. 

DEMETRIO  (Demetrius),  Italian  opera 
in  three  acts,  text  by  Metastasio,  first  set 
to  music  by  Caldara  and  represented  iu 
Vienna,  Nov.  4,  1731.  Subject,  the  j'oung 
Demetrius,  son  of  Demetrius  Soter,  regains 
his  kingdom,  lost  by  his  father  through  the 
conspiracy  of  Alexander  Balus.  Scene  in 
Seleucia.  Characters  repi-esented  :  Cleonice, 
queen  of  Syria,  in  love  with  Alceste  ;  Al- 
ceste,  afterwards  Demetrio,  king  of  Syria ; 
Fenicio,  a  noble,  tutor  of  Alceste  and  father 
of  Olinto  ;  Oliiito,  a  noble,  rival  of  Alceste  ; 
Barsene,  confidant  of  Cleonice  and  secretly 
in  love  with  Alceste  ;  Mitraue,  captain  of 
the  royal  guard  and  friend  of  Fenicio.  The 
libretto  has  been  set  to  music  also  by 
the  following  composers :  Johann  Adolph 
Hasse,    Venice,    1732 ;    Pescetti,    London, 


DEMETRIO 


1738  ;  Dimi,  Italy,  about  1740  ;  Gluck,  Ven- 
ice, 1742  ;  Galuppi,  Vienna,  1748  ;  Nasell, 
Naples,  1749  ;  Perez,  Turin,  1752  ;  Joni- 
melli,  Parnia,  1753  ;  Picoinni,  Naples,  17G2  ; 
Paisiello,  Modeua,  17G5  ;  Pauipani,  Italy, 
1768  ;  Perillo,  Venice,  1769  ;  Beruascoui, 
Mannheim,  1772  ;  Gugliehni,  Turin,  1773  ; 
Giesnick,  London,  1785  ;  Tarcbi,  Milan, 
1788  ;  and  Caruso,  Venice,  1791.  An  opera 
on  the  same  subject,  music  by  Pallavicino, 
had  been  previously  produced  in  Venice  in 
1666.  Of  a  later  date  are  Demetrio,  music 
by  Simon  Mayr,  Turin,  1824  ;  and  music  by 
Coppola,  Turin,  1877.  Demetrio  e  Polibio, 
music  by  Eossiui,  Eome,  1812,  has  for  its 
subject  the  intimacy  between  Demetrius, 
son  of  Pliilip  in.  of  Macedon,  when  a  host- 
age in  Eome,  with  the  historian  Polybius. 

DEMETEIO  A  EODI  (Demetrius  at 
Ehodes),  Italian  ojjera,  music  by  Pugnani, 
represented  at  Turin,  1789,  on  the  occasion 
of  the  marriage  of  the  Duke  of  Aosta,  has 
for  its  hero  Demetrius  Poliorcetes,  King 
of  Macedonia,  who  conducted  a  memorable 
but  unsuccessful  siege  of  Ehodes.  The 
subject  is  treated  also  in  Demetrio  a  Eodi, 
music  by  E.  Paganini,  Italy,  about  1810. 

DEMETEIUS,  overture  to  Schiller's  trag- 
edy of,  by  Ferdinand  Hiller. 

DEilETEIUS,  overture  to  Schiller's  trag- 
edy of,  by  Joseph  Eheinberger,  op.  110. 

DE'  MIEI  BOLLENTI.     See  Traviata. 

DEMOFOONTE  (Demophoon),  Italian 
opera  in  three  acts,  text  by  Metastasio,  lirst 
set  to  music  by  Caldara  and  represented 
at  the  Court  Theatre,  Vienna,  Nov.  4,  1733, 
in  honour  of  the  Emjieror  Charles  VI. 
Scene  in  the  palace  of  Demojjhoon,  in 
the  Thracian  Chersonese.  Charactei's  rep- 
resented :  Demofoonte,  king  of  Thrace  ; 
Dircea,  secretly  wife  of  Timaute  ;  Creusa, 
jirincess  of  Phrygia,  destined  wife  of  Ti- 
mante  ;  Tiniante,  putative  hereditary  prince 
and  son  of  Demofoonte  ;  Cherinto,  son  of 
Demofoonte,  lover  of  Creusa ;  Matusio, 
23utative  father  of  Dircea  ;  Adrasto,  captain 
of  the  royal  guard  ;  Olinto,  a  youth,  son 
of  Timaute.     The  libretto  has  been  set  to 


music  also  by  Schiassi,  Bologna,  1735  ; 
Fiorillo,  Naples,  1735  ;  Duni,  Italy,  about 
1735  ;  Ferandini,  Munich,  1737  ;  Latilla, 
Naples,  1738  ;  Lampugiiani,  Piacenza,  1738  ; 
Leo,  Naples,  1741  ;  Gluck,  Milan,  1742  ; 
Verocaj,  Brunswick,  1743  ;  Graun,  Berlin, 
1746  ;  Hasse,  Dresden,  1748  ;  Perez,  Lis- 
bon, 1752  ;  Sarti,  Florence,  1753  ;  Cocchi, 
Venice,  1754  ;  Bei-nasconi,  Munich,  1758 
and  1766  ;  Jommelli,  Stuttgart,  1759  ; 
Vento,  Najjles,  1761  ;  Piccinni,  Naples, 
1762  ;  Majo,  Eome,  1764 ;  Pami^ani,  Italy, 
1764  ;  Wauhal,  Eome,  about  1764  ;  Koze- 
lucli,  Prague,  about  1770  ;  Aufossi,  Eome, 
1773  ;   Mysliweczek,    Naples,    1775  ;  Paisi- 


Regina  Mingotti. 

ello,  Venice,  1775  ;  Schuster,  Forli,  177G  ; 
Felice  Alessandri,  Padua,  1783  ;  Bianchi, 
Venice,  1783  ;  Bertoni,  Loudon,  1784  ; 
Tarchi,  Crema,  1786;  Gatti,  Mantua,  1787; 
Prati,  Venice,  1787  ;  Pugnani,  Turin,  1788  ; 
Brunetti,  Italy,  1790  ;  Federici,  London, 
1791 ;  Portogallo,  Milan,  1794  ;  Giusejipe 
Maria  Sborgi,  Florence,  1836.  Among  the 
most  successful  of  these  settings  was  that 
by  Johann  Adolph  Hasse,  represented  in 
Dresden  in  1748,  in  whicli  Eegiua  Mingotti 
(1728-1807)  sang  the  principal  part.  Hasse, 
who  was  jealous  of  her,  because  she  was  the 
pupil  of  his  rival  Porpora  and  had  eclipsed 
his  wife,  the  celebrated  Faustina,  insidi- 
ously wrote  for  her  an  Adagio,  with  a  piz- 
zicato string  accompaniment,  with  the  hope. 


413 


DEMOISELLE 


probably,  tliat  she  would  sing  out  of  tuue 
for  want  of  iustrumeutal  support.  She  saog 
the  part,  however,  iu  so  faultless  a  mauner 
as  to  win  universal  ajjplause,  and  the  song, 
"  Se  tutti  i  mali  miei,"  became  one  of  her 
most  successful  show  pieces. 

DEMOISELLE  EN  LOTERIE,  LA,  ope- 
rette  in  one  act,  text  by  Jaime  fils,  music 
by  Offenbach,  given  at  the  Bouflfes  Parisiens, 
July  7,  1857. 

DE  MOL.     See  3Iol. 

DEMON.     See  Damon. 

DEMOPHON,  lyric  tragedy  iu  three  acts, 
text  by  Marmontel,  music  by  Cherubiui, 
represented  at  the  02:)era,  Paris,  Dec.  1, 
1788.  In  this,  his  first  French  opera, 
Cherubini  broke  loose  from  the  light  and 
trivial  school  characteristic  of  his  previ- 
ous works,  and  laid  the  foundation  of  his 
grand  style.  The  libretto  is  an  adaptation 
of  Metastasio's  Demofoonte.  Another  ad- 
aptation of  the  same  is  Dumoishou,  lyric 
tragedy  in  three  acts,  text  by  Desriaux, 
music  by  Johann  Christoph  Vogel,  given 
in  Paris,  Sept.  22,  1789.  This  excellent 
work  was  reproduced  in  1793,  and  had  a 
considerable  success.  The  overture  was 
long  considered  a  masterpiece. 

DEMOPHOON.     See  Demofoonte. 

DENEEVE  (Denepve),  JULES,  born  at 
Chimaj',  Belgium,  in  ISli.  Violoncellist 
and  dramatic  composer,  pupil  at  the  Brus- 
sels Conservatoire  from  1833,  and  on  the 
violoncello  of  Platel  and  Demunck  ;  he  won 
the  accessit  in  1833,  and  studied  harnionj' 
and  composition  under  Fetis.  He  became 
professor  of  the  violoncello  in  the  Ecole  de 
Musique,  and  first  violoncellist  at  the  the- 
atre and  Societu  des  Concerts,  at  Mons,  in 
Hainaut,  where  he  stiU  resides,  and  has  suc- 
cessively become  director  of  the  Ecole,  con- 
ductor of  the  Sociote  des  Concerts,  direc- 
tor of  the  Harmonic  Society,  and  in  1841 
founder  and  director  of  the  Koland  de  Lat- 
tre  Choral  Society.  He  received  a  gold 
medal  for  a  cantata  sung  before  Leopold  I., 
at  Mons,  in  1841  ;  took  the  prize  given  by 
the  Socicto  des  Ai'ts,  Sciences  et  Lettres  of 


Hainaut,  for  an  overture  for  militarj'  band  ; 
won  the  second  prize  at  the  Concours  de 
Bruges  for  a  Hymn  of  Victory  in  1846,  and 
the  medal  of  the  Societc  Eoyale  des  Beaux- 
Arts  et  Lettres  of  Ghent,  in  1851,  for  his  War 
Overture  with  chorus ;  and  took  the  second 
medal  at  Dunkerque  for  a  symphony  with 
chorus  iu  1853.  He  is  a  member  of  the 
Societe  des  Beaux-Arts  et  Lettres  of  Ghent, 
correspondent  of  the  Cercle  Artistique  of 
Antwerp,  and  a  member  of  the  most  impor- 
tant musical  societies  in  Belgium  and  the 
North  of  France.  Works  :  Kettlj',  ou  le 
retour  en  Suisse,  opera-comique,  given  at 
Mons  in  1838 ;  L'Echeviu  Brassart,  opura- 
comique,  ib.,  1845  ;  Marie  de  Brabant, 
scene  lyrique,  ib.,  1850  ;  several  cantatas, 
one  sung  by  six  hundred  voices  at  the 
unveiling  of  the  statue  of  Orlando  Lasso  at 
jNIons,  in  1858  ;  a  requiem,  and  orchestral 
music. — Fetis  ;  Grove  ;  Mendel. 

DENNE-BAEON,  RENE  DIEUDONNE, 
born  in  Paris,  Nov.  1, 1804,  died  there,  Nov. 
11,  1865.  Composer,  pupil  of  Porta  and 
Cherubini,  but  never  more  than  a  clever 
amateur.  He  contributed  to  many  music 
periodicals,  and  wrote  the  biographies  of 
musicians  in  the  "  Nouvelle  biograjihie 
geuerale."  Works  :  New  airs  for  Vert- Vert, 
Le  brigand,  L'alcove,  etc.  ;  Grand  Mass 
for  4  voices  and  orchestra,  hymns,  and  can- 
ticles, choruses,  ballads,  romances,  noc- 
turnes, for  the  voice,  and  organ,  pianoforte, 
and  orchestra  pieces. — Fctis,  Sui^islument, 
i.  258  ;  Larousse,  vi.  441. 

DENN  ER  HAT  SEINEN  ENGELN, 
double  quartet  in  Mendelssohn's  Elias, 
Part  I 

DENTICE,  FABRICIO,  born  in  Naples, 
lived  in  Rome  in  the  second  half  of  the 
16th  century.  Galilei  speaks  of  his  clever 
lute-playing  and  his  talent  for  composition 
(Dialogo  della  Musica,  138).  Works  :  Mise- 
rere for  six  voices,  now  in  the  Sixtine 
Chapel,  arranged  for  four  voices  by  Michele 
Pacini,  cantor  of  the  chapel  of  the  Due 
d'Altaemps ;  Motets  iu  the  Eler  Collection 
(MS.),  owned  by  the  Paris  Conseiwatoire ; 


414 


DEXTICE 


Motets  for  five  voices  pnlilislied  under  tlie 
title,  Madrigali  sj^irituali  (Venice,  1581) ; 
Antbems  for  four  voices  (Venice,  158G)  ; 
Lainentatioui  (sic)  a  5  voci,  aggiiuitovi  li  Ee- 
sponsori,  Autifone,  Benedictus  et  Miserere 
(Milan,  1593).— Fetis;  Mendel. 

DENTICE,  SCIPIONE,  born  in  1590, 
died  in  Naples,  in  1G33.  Of  the  same 
famil}-  as  Fabricio  Deutice,  he  became  a 
member  of  the  Congregation  of  the  Ora- 
tory, and  a  distinguished  musician.  His 
first  book  of  Madrigals  for  five  voices  was 
dedicated  to  the  Duke  of  Ferrara  (Naples, 
1591)  ;  second,  do.  (Venice,  1596)  ;  third 
and  fourth,  do.  (Naples,  1G02)  ;  fifth,  dedi- 
cated to  Cardinal  Aquaviva  (Naples,  1007). 
He  wrote  also  responses,  Tenebrro  for  Holy 
Week,  many  liymns,  masses,  Blagnificats, 
and  a  large  number  of  motets. — Fotis  ; 
Mendel. 

DENZA,  LUIGI,  born  at  Castellamare, 
near  Naples,  in  1S4G,  still  living,  1888. 
Noted  as  a  writer  of  popular  songs.  Works 
published  by  Ricordi. 

DENZI,  ANTONIO,  Italian  singer  in 
Prague,  in  1724.  Having  lost  his  fortune 
as  manager  of  the  opera  at  Prague,  he  com- 
posed a  national  opera,  Praga  nascente  da 
Libussa  e  Primislao,  ^vhich  he  brought  out 
in  1734.  He  dedicated  this  work  to  the 
nobles  of  Bohemia,  and  played  the  r(*)le  of 
Ctirad  himself,  and  its  success  was  so  great 
that  Denzi  repaired  his  fortune. — Fetis  ; 
Mendel  ;  Allgem.  histor.  Kunst-Lexik.  fiir 
Boehmen.,  i.  321. 

Dt^:PART,  CHANT  DU.  See  ChaiU  du 
depart. 

DEPEfiS,  JOSQUIN.  See  Despres. 
DEPRET,  EDMOND,  born  at  Virelles, 
Belgium,  in  1827.  Singer,  puinl  at  the 
Brussels  Conservatoire,  where  he  took  the 
first  prize  for  singing  in  1845.  He  went 
to  London  in  1859,  and,  after  two  years  in 
Italy,  returned  thither,  and  studied  com- 
position under  Molique.  Works  :  Septet ; 
Nocturne  for  the  pianoforte  ;  two  trios  for 
voices  ;  and  several  pieces  of  minor  impor- 
tance.    At  the  fete  given  to  liiug  Leojjold, 


in  1873,  he  brought  out  a  grand  Te  Deum 
with    orchestra   at   the  Church   of  Saiute- 
Gudule,    Brussels. — Fetis,    Supplement,    i 
259. 

DEPROSSE,  ANTON,  born  in  Munich, 
May  18,  1838,  died  in  Berlin,  June  23, 
1878.  Di-amatic  composer,  pupil  of  the 
royal  school  of  music,  then  of  E.  Doctor 
on  the  pianoforte,  of  Sturz  in  composition, 
and  of  Herzog  on  the  organ  and  in  score 
reading  ;  was  instructor  of  the  pianoforte 
at  the  above  school  in  1861-G4,  and  at  a 
music  institute  in  Gotha  until  18G8  ;  re- 
turned to  Munich  in  1871,  and  settled  in 
Berlin  in  1875.  Works  :  Several  operas 
(MS.)  ;  Die  Salbung  Davids,  oratorio  ; 
Pianoforte  music  and  songs  . —  Mendel ; 
Riemann. 

DERCKUM,  FRANZ,  boin  in  Cologne 
in  1812,  died  May  11,  1872.  Dramatic 
composer,  pui^il  of  F.  Schneider,  of  Dessau, 
then  became  in  his  native  city  instructor 
in  the  Rheinische  Musikschule  and  director 
of  a  Gesangverein  ;  also  viola  player  in 
a  string  quartet.  His  compositions  have 
not  been  permanently  successful.  Works  : 
Alda,  opera,  performed  at  Cologne  in  184G  ; 
Other  operas  ;  String  quartets  ;  Four-jiart 
songs ;  Overtures. — Mendel,  iii.  113  ;  Er- 
g'anz.,  84  ;  Fetis. 

DEREGIS,  GAIIDENZIO,  born  at  Agno- 
ua,  near  Vereelli,  in  1747,  died  at  Ivrea, 
in  ISIG.  He  studied  music  at  the  seminary 
of  Casadadda,  Varallo,  under  Coruola  ;  went 
thence  to  Borgo-Sesia,  and  became  a  jiupil 
of  his  uncle,  Giusejipe  Deregis,  in  composi- 
tion. He  was  maestro  di  cappella  of  the  Col- 
legio  of  Ivrea  from  1775.  Works  :  Masses 
and  vesjiers  with  full  orchestra,  written  in 
a  learned  style,  preserved  among  the  Col- 
legio  MSS.~  Fetis  ;  Mendel. 

DEE  ERDKREIS  1ST  NUN  DES 
HERRN,  five-part  chorus,  with  fugue,  in 
B-flat  major,  in  Mendelssohn's  I'atdus,  Part 
II. 

DER  GLAUBE  SCHAFFT  DER  SEELE 
FLUGEL,  bass  aria  in  B  minor,  with  ac- 
companiment of  oboe  d'  amore,  strings  com- 


415 


DER 


plete,  and  continuo,  in  Jobann  Sebastian 
Bach's  cantata:  "ICer  da  glaubet  und  ge- 
tauft  wird." 

DEE  HERE  GING  YOEUBEE,  clioius 
in  Mendelssohn's  EUas,  often  known  as  the 
whirlwind  chorus. 

DEE  HOLLE  EACHE  KOCHT.  See 
Zanherflote. 

DEEDsG  (Dealing),  EICHAED,  born  in 
Kent,  England,  in  the  latter  part  of  the 
16th  century,  died  about  1657.  Organist, 
educated  in  Italj-.  On  his  return  to  Eng- 
land he  practised  his  profession  in  London, 
and  took  the  degree  of  Mus.  Bac,  Oxford, 
in  1610.  Svibsequently  he  became  organ- 
ist to  the  convent  of  English  nuns,  Brus- 
sels, and  later  organist  to  Queen  Henrietta 
Maria  from  the  time  of  her  marriage  to 
Charles  I.,  1625,  until  she  left  England. 
Dering  became  a  Roman  Catholic,  and  died 
in  that  faith.  Published  works  :  Cantiones 
sacrse  quinque  vocum,  cum  basso  continuo 
ad  organum  (Antwerp,  1597)  ;  Cantica 
Sacra,  ad  duas  et  tres  voces,  composita 
cum  Basso  continuo  ad  organum  (London, 
1662).  In  Piavford's  second  set  of  Cantica 
Sacra  by  various  composers,  are  eight  mo- 
tets attributed,  but  doubtfully,  to  Dering. 
The  library  of  the  English  Harmonic  So- 
ciety has  some  imperfect  MS.  sets  of  parts 
of  the  anthem.  Unto  Thee,  O  Lord ;  the 
madrigal.  The  Country  Cry ;  and  some  mo- 
tets and  several  fancies  for  viols. — Grove  ; 
Riemann. 

DERNIER  JOUR  DE  ISHSSOLONGHI, 
LE  (The  Last  Day  of  Missolonghi),  drama 
in  three  acts,  in  verse,  text  by  Ozaneaux, 
music  by  Herold,  represented  at  the  Odeon, 
Paris,  April  10,  1828. 

DERNIER  JOUR  DE  POMPEI,  LE 
(The  Last  Day  of  PomiDeii),  opera  in  four 
acts  and  five  tableaux,  text  by  Nuitter  and 
Beaumont,  music  by  Victorin  Joucii-res, 
represented  at  the  Theatre  Lyrique,  Paris, 
Sept.  21,  1869.  Subject  from*  Bulwer-Lyt- 
ton's  "  Last  Days  of  Pompeii  "  (1831).  The 
same  subject  had  been  pi-eviously  treated  in 
L'  ultimo  giorno  di  Pompeja,  Italian  opera 


in  two  acts,  text  by  Tottola,  music  by  Gio- 
vanni Pacini,  given  in  Naples,  Nov.  19, 
1825,  and  Paris,  Oct.  2,  1830.  Alidia,  oder 
die  letzten  Tage  von  Pompeji,  grand  opera 
in  three  acts,  text  by  Prechtler,  music 
by  Franz  Lachner,  Munich,  April  12,  1839. 
Die  letzten  Tage  von  Pompeji,  grand  opera 
in  four  acts,  text  by  Julius  Pabst,  music 
by  August  Pabst,  Dresden,  Aug.  17,  1851 ; 
grand  opera,  text  by  Pasque,  music  by 
Peter  MiiUer,  Darmstadt,  1855.  lone,  ossia 
I'ultimo  giorno  di  Pompeji,  Italian  opera  in 
three  acts,  text  by  Peruzzini,  music  by  Pe- 
trella,  Milan,  Jan.  21,  1858. 

DEENIER  ROI  DE  JUDA,  LE  (The 
Last  King  of  Judah),  biblical  ojjera  in  two 
acts,  poem  by  Maurice  Bourges,  music  by 
Georges  Kastuer,  executed  in  the  Salle  du 
Conservatoii'e,  Paris,  Dee.  1,  1844:.  This 
work,  which  is  properly  an  oratoi'io,  has  for 
its  subject  King  Zedekiah,  whose  overthrow 
by  Nebuchadnezzar  was  succeeded  by  the 
Babylonish  captivity. 

DERNlfcRE  PENSfeE  MUSICALE, 
(Last  Musical  Thought),  a  short  jiiano- 
forte  piece  in  B-flat,  by  Beethoven,  written 
in  1818,  and  first  published  as  a  supjale- 
ment  to  the  Berlin  Allgemeine  Musika- 
lische  Zeitung  (Schlesinger)  for  Dec.  8, 
1824.  Another  little  pianoforte  jiiece,  en- 
titled Derniure  pensee  de  'Weber,  and 
widely  known  as  'U^eber's  last  Waltz,  was 
for  some  time  generally  supposed  to  be  a 
composition  of  ^Yeber's  ;  it  was,  however, 
written  by  Reissiger,  who  was  for  some 
time  '\\'eber's  colleague  at  the  Dresden 
Q-peva. 

DEROSIERS,  NICOLAS,  lived  in  Hol- 
land about  the  close  of  the  17th  century. 
He  had  been  chamber  musician  to  the 
Electress  Palatine  at  Mannheim.  Works : 
Trois  livres  de  trios  pour  divers  instru- 
ments ;  Ouvertures  :\  trois  parties  et  con- 
certs a  quatre,  etc.  (Amsterdam)  ;  Douze 
ouvertures  pour  la  guitare,  op.  5  (The 
Hague,  1688)  ;  Mt'thode  pour  jouer  de  la 
guitare,  reprinted  in  Paris  as,  Nouveaux 
principes   de  la   guitare    (1689)  ;   La   fuite 


416 


DER 


du  roi  d'Aiigleterre,  for  two  violins,  or  tAvo 
flutes  and  bass  (Amsterdam,  1G89)  ;  Book 
of  guitar  pieces  with  two  second  parts  for 
iustruments  and  basso  continiio. — Fetis  ; 
Mendel. 

DER  V0C4ELFANGER.     See  ZauberflOle. 

DER,  WELCHER  WANDELT  DIESE 
STRASSE.     See  Zaitherfiote. 

DERX,  J W ,  born  at  Nymwegen, 

Holland,  in  1801,  still  living,  1888.  'Organist, 
pupil  of  F.  Hauff.  He  became  organist  of 
the  Walloon  church  in  his  native  place,  in 
1819,  and  organist  of  the  Mennonite  church, 
Haarlem,  in  1830.  Works  :  Organ  preludes 
and  pieces,  psalms,  chorals,  and  pianoforte 
music. — Fetis,  Supplement,  i.  259  ;  Mendel, 
Ergiinz.,  84. 

DESAUGIERS,  MARC  ANTOINE,  born 
at  Friijus  in  1752,  died  in  Paris,  Sept.  10, 
1793.  Dramatic  comjioser,  studied  with- 
out a  teacher,  and  went  in  1774  to  Paris, 
where  he  first  became  known  by  a  transla- 
tion of  "Reflexions  sur  I'Art  de  Chanter,"  by 
J.  B.  Mancini  (Paris,  1776).  A  great  en- 
thusiast for  the  revolution,  he  composed  a 
festival  cantata,  Hicrodrame,  to  celebrate 
the  storming  of  the  Bastille,  which  was  per- 
formed at  Notre  Dame.  He  was  intimate 
with  Gluck  and  with  Sacchini,  for  whose 
obsequies  he  wrote  a  Requiem.  Works — 
Operas  :  Le  petit  CEdipe,  given  at  the 
Theatre  Italien,  1779  ;  Erixene,  ou  I'amour 
enfant,  Opora,  1780  ;  Florine,  Theatre  Ita- 
lien, 1780  ;  Les  deux  Sylphides,  ib.,  1781  ; 
Les  jumeaux  de  Bergame,  ib.,  1782  ;  L'a- 
mant  travesti,  Theatre  de  Monsieur,  about 
1783  ;  Jeannette  et  Lucas,  La  jeune  veuve, 
1788  ;  Le  nu'decin  malgre  lui,  Theatre 
Feydeau,  1791  ;  Les  rendez-vous,  Theatre 
de  Beaujolais,  1792  ;  Belisaire  (MS.).— Fe- 
tis  ;  Mendel  ;  Riemann. 

DESBROSSES,  ROBERT,  born  at  Bonn, 
Rhenish  Prussia,  in  1719,  died  in  Paris, 
February,  1799.  Dramatic  composer,  mem- 
ber of  the  company  of  the  Comedie  Italienne 
from  1743  to  1764.  Works,  given  in  Paris  : 
Les  amusements  champOtres,  ballet,  1749  ; 
Mai,  divertissement,  1751 ;  Lamour  pique 


par  une  abeille  et  gui'ri  par  un  baiscr  de 
Venus,  ballet,  1753  ;  Venus  et  Adonis,  do., 
1759 ;  Les  sceurs  rivales,  opera-comique, 
1762  ;  Le  bon  seigneur,  Les  deux  cousines, 
1763 ;  Les  trois  deesses  rivales,  1788. 
— Futis  ;  do.,  Supplement,  i.  259  ;  Mendel, 
iii.  116  ;  Larousse. 

DESBUISSONS,  :\riCHEL  CHARLES, 
called  Flandrus  insulanus,  born  at  LDle 
about  1520,  died  before  1573.  Singer  and 
church  composer,  attached  to  the  chapel 
of  the  Emperor  Ferdinand  I.  Works :  Can- 
tiones  aliquot  musicfo,  etc.  (Munich,  1573)  ; 
13  motets  for  5,  6,  and  7  voices  ;  5  do.  for  5, 
6,  and  8  voices ;  3  do.  for  5  and  6  voices  ;  one 
motet  for  12,  one  do.  for  5,  and  one  for  6 
voices ;  25  motets  for  from  5  to  12  voices  (in 
Joaunelli's  Novus  thesaurus  musicus, Venice, 
1568).— Fetis. 

DESERT,  LE,  symphonic  ode  in  three 
parts,  jjoem  by  A.  Colin,  music  by  Felicien 
David,  given  in  the  Salle  du  Conservatoire, 
Paris,  Dec.  8,  1844,  and  afterwards  at  the 
Opera  Comique.  This  work,  the  descnp- 
tive  part  of  which  is  very  remarkable,  ex- 
cited general  enthusiasm  and  opened  the 
way  for  the  composer  to  public  favour.  In 
1846  it  was  jjlayed  in  costume  at  Aix-la- 
Chapelle. 

D1-:SERTEUR,  LE,  drama  in  three  acts, 
text  by  Sedaine,  music  by  Monsigny,  repre- 
sented at  the  Theatre  des  Italiens,  Paris, 
March  6,  1769.  This,  Monsigny's  best 
work,  was  reproduced  at  the  Ojiera  Co- 
mique, Oct.  30,  1843.  The  air  sung  by 
Alexis,  "Adieu,  chere  Louise,"  was  long 
popular.  Der  Deserteur,  ojiera  in  two  acts, 
music  by  Ebell,  Berlin,  1799  ;  and  opera  in 
three  acts,  text  by  Ernest  Pesque,  music  by 
Ferdinand  Hiller,  Cologne,  Feb.  17,  1865, 
differ  in  subject  from  Monsigny's  work. 

DESERTO  SULLA  TERRA.  See  Tro- 
vatore. 

DESHA  YES,  PROSPER  DIDIER, 
French  dramatic  composer  of  the  18th 
century,  history  unknown.  His  oratorios, 
Les  Machabees,  and  Le  sacrifice  de  Jephte, 
were  played  at  the  Concerts  Sjsirituels  in 


417 


DESLANDEES 


1780  and  1786,  and  bis  operas  aud  ballets 
were  given  from  1782  at  the  Comudie  Fran- 
9aise,  but  be  was  never  heard  of  after  the 
close  of  the  Revolution.  He  wrote,  in  con- 
junction with  Gretry,  Mohul,  Dalajrac,  Devi- 
en  ne,  Solie,  Trial  fils,  Blasius,  Kreutzer, 
Bertou,  Cherubiui,  and  Jadiu,  the  music  for 
Le  eongres  des  rois,  played  in  1793  at  the 
Theatre  Favart.  Works— Comic  operas: 
Le  faux  serment,  L'auteur  a  la  mode,  1786 ; 
Le  paysan  a  pretention,  Berthe  et  Pepin, 
1787:"Adele  et  Didier,  1790;  Nantdde  et 
Dagobert,  Zelia,  ou  le  mari  a  deux  femmes, 
1791 ;  Suite  de  Zelia,  Melite,  ou  le  pouvoir 
de  la  nature,  1792  ;  Le  petit  Orphee,  La 
fin  du  jour,  1793  ;  Bella,  ou  la  femme  a 
deux  maris,  1795  ;  Don  Carlos,  1799 ; 
Henri  de  Baviere,  1803.  ■  He  left  sympho- 
nies for  full  orchestra  in  MS.,  and  a  book  of 
pieces  for  wind  instruments  published  by 
the  Conservatoire. — Fetis  ;  do.,  SujJiJle- 
ment,  i.  260  ;  Mendel. 

DESLANDRES,  ADOLPHE  EDOUARD 
MARIE,  born  in  Paris,  Jan.  22,  1840,  still 
living,  1888.  Organist,  pupil  at  the  jCan- 
servatoire  of  Leborue  in  counterisoiut  and 
fugue,  and  of  Benoist  on  the  organ ;  first 
accessit  for  the  organ  in  185G,  and  second 
l^rize  in  1857  ;  first  accessit  for  fugue  in 
1857,  and  first  prizes  for  fugue  and  organ 
in  1858  ;  honourable  mention  at  the  Institut 
in  1859,  and  second  grand  prix  de  Rome  in 
18G0.  He  became  organist  of  the  church 
of  Sainte-Marie  des  Batignolles,  where  his 
father  was  maitre  de  chapelle,  and  mean- 
while studied  composition.  Works :  Di- 
manche  et  Luudi,  comic  "opera,  given  at  the 
Theatre  de  I'Athenee,  1872  ;  Le  chevalier 
Bijou,  operetta.  Alcazar  d'Hiver,  1875  ;  Fri- 
dolin,  do.,  ib.,  1876  ;  Les  sept  paroles  du 
Christ,  oratorio  ;  Sauvons  nos  freres,  can- 
tata ;  Mass ;  Ode  a  I'harmonie ;  Feuillets 
d'album,  collection  of  six  vocal  melodies ; 
La  barque  brisee,  patriotic  ode  ;  Medita- 
tions, morceaux  concertants  for  several  in- 
struments, motets,  pianoforte  pieces,  and 
songs.  His  brother,  Georges  Philippe  Des- 
landres  (died  in  Paris,  Oct.  12,  1875,  aged 


26),  was  an  organist  and  composer.  He 
had  published  church  compositions. — Fetis, 
Supplement,  i.  261  ;  Mendel,  Ergiinz.,  84. 

DESLOUGES,  PHILIPPE,  French  mu- 
sician of  the  16th  century.  He  composed 
motets  preserved  in  a  collection  entitled  : 
Xn.  motetz  a  quatre  et  cinq  voix,  composes 
par  les  autheurs  cy-dessoubz  escrijjts,  na- 
gueres  inprimes  a  Paris  par  Pierre  Attai- 
gnant,  etc.  (1529)  ;  and  chansons  in  Pierre 
Attaignant's  collection  of  four-part  songs 
(1530).— FOtis  ;  do..  Supplement,  i.  261. 

DES3IARETS,  HENRI,  born  in  Paris  in 
1662,  died  at  Luneville,  Sept.  7,  1741, 
Dramatic  composer.  At  first  a  page,  he 
competed  for  the  place  of  maitre  de  chapelle 
to  the  king  in  1683,  when  Louis  XTV.  pen- 
sioned him,  thinking  him  too  young  for  the 
position.  He  composed  several  motets  and 
jiublished  some  of  them  under  the  name  of 
Goujjillier,  maitre  de  chapelle  to  the  king, 
at  Versailles ;  and  being  dismissed  therefor, 
he  went  to  Senlis  in  1700,  and  there  mar- 
ried secretly  the  daughter  of  a  government 
official,  who  rej)orted  the  case  as  one  of 
abduction.  Desmarets  was  sentenced  to 
death,  but  escaped  to  Spain,  and  became 
maestro  de  capilla  to  Philip  V.  ;  foiu'teen 
years  later  he  went  to  Luneville,  where  he 
was  made  superintendent  of  music  to  the 
Duke  of  Lorraine.  He  returned  to  Paris 
in  the  time  of  the  Regency,  in  1722,  and  was 
pensioned  by  the  Due  d'Orleans.  Works — 
Operas  :  Didon,  1693  ;  Circe,  1694  ;  The- 
agene  et  Chariclee,  Les  amours  de  Momus, 
1695  ;  Venus  et  Adonis,  1697  ;  Les  fetes 
galantes,  1698  ;  Iphigeuie  en  Tauride  (with 
a  prologue  by  Campra),  1704  ;  Renaud, 
1722  ;  and  music  for  the  birth  of  the  Duke 
of  Burgundy  (1682). — Fetis;  Larousse  ; 
Mendel  ;  Riemann. 

DE  SON  CCEUR  JAI  CALMfi  LA  FI- 
f;VRE.     See  3Iir;non. 

DESORMERY,  JEAN  BAPTISTE,  born 
at  Nancy,  in  1772,  died  (?).  Pianist,  pupil 
of  his  father,  Leopold  Bastien  Desormery, 
and  of  Hulmandel.  Works  :  Sonatas  for 
pianoforte,  op.  1,  2,  7,  14,  16  ;  Sonatas  for 


418 


DESORMERY 


pianoforte  witli  accompaniment,  op.  5,  G,  9, 
and  15  ;  Sonata  for  four  hands,  oii.  11 ; 
Airs  varies  and  fantaisies.  His  op.  19,  pub- 
lished in  1831,  consisted  of  twenty-four 
studies  for  the  pianoforte  in  the  twenty- four 
keys. — Futis,  5  ;  Mendel. 

DESORMERY,  LEOPOLD  BASTIEN, 
born  at  Bayon,  Lorraine,  died  at  Beauvais 
in  1810.  Singer  and  dramatic  composer, 
2)upil  of  the  Primatial  school  of  Nancy. 
He  went  to  Paris  in  1765,  and  was  in  Stras- 
burg  in  1770,  when  he  carried  off  the  double 
prize  of  two  gold  medals  for  a  motet  in 
Latin,  given  at  the  Concert  Spirituel  in 
1770.  Later,  he  was  engaged  to  sing  at 
the  Comudie  Italienne,  where  he  remained 
until  1778.  Works — Operas  :  La  fote  du 
village,  1775;  Hylas  et  Eglu  (with  Legros) ; 
Euthyme  et  Lyris,  given  at  the  Acadomie 
Royale,  1776  (22  times  in  succession)  ; 
Myrtil  and  Lycoris,  at  Court,  1777,  after- 
wards at  the  Opera  ;  Les  Montaguards,  and 
others,  which  were  not  played. — Fetis  ;  do.. 
Supplement,  i.  263  ;  Mendeh 

DESORMES,  L C ,  French  com- 
poser, contem^jorary.  He  has  written  the 
music  of  several  operettas  and  musical 
sketches,  represented  in  Paris  :  Deux  beau- 
tcs  d'autrefois  ;  Maitre  Luc ;  Pruuelle 
et  Piffard  ;  Le  menu  de  Georgette,  1871 ; 
Les  diamants  de  Florinette,  1875 ;  Una 
lune  de  miel  normande,  Le  rove  d'Yvou- 
nette,  1876.  He  has  published  also  sev- 
eral chansons  and  chansonnettes,  and  some 
dance  music. — Ftitis,  Supplement,  i.  263. 

DESPRfiAUX,  GUILLAUME  ROSS, 
born  at  Clermont,  France,  in  1803,  died  (?). 
Dramatic  composer,  pupil  at  the  Paris  Con- 
servatoire, under  Fetis  and  Bertou  for  com- 
position. He  was  an  actor  at  the  Gymnase 
Dramatique  from  1821  to  1828.  He  gained 
the  2d  grand  prix  of  the  Institut  in  1827, 
and  the  1st  prix  de  Rome  in  1828,  for  his 
cantata  Orphee,  played,  at  the  Institut. 
From  Rome  he  sent  in  1830  a  Requiem 
and  a  Dies  irse,  and  on  his  return  to  Paris 
in  1833,  brought  out  an  opera,  Le  souper 
du  mari ;  and  in  1838  another,  La  dame 


d'honneur,  which  was  not  successful. — Fe- 
tis  ;  do..  Supplement,  i.  264  ;  Mendel. 

DESPRES,  JOSQUIN  (Josse),  born  at 
Conde,  near  Saint- 
Quentiu,  Hai- 
uaut,  about  1150 
-55,  died  there, 
Aug.  27,  1521. 
His  real  name,  re- 
corded in  his  epi- 
taph at  Conde,  was 
Josse  D  e  s  p  r  e  s , 
Josquin  or  Josse- 
kin    being   a    di-  ' 

minutive.  He  was  called  in  Latin  Jodocus 
Pratensis,  and  in  Italian  Jusquino  or  Gius- 
quino  del  Prato  ;  Ijut  his  name  is  found  in 
many  forms,  as  Dejires,  de  Pre's,  Dej^ret, 
Deproz,  Dupro,  etc.  At  first  a  choir-boj'  in 
the  Cathedral  of  Saint-Quentin,  he  studied 
couuter2)oiut  under  Okeghem,  probably  at 
Tours,  and  in  1471-84  was  a  member  of 
the  jsapal  choir  at  Rome  under  Sixtus  IV. 
He  next  j)assed  some  time  (probably  from 
1484  to  1490)  in  Florence,  much  esteemed 
by  Lorenzo  the  Magnificent ;  and  then 
probably  lived  at  the  court  of  Ercole,  Duke 
of  Ferrara  ;  certainly  he  was  at  one  time, 
and  necessarily  after  1498,  in  the  service  of 
Louis  XII.  in  Paris,  where  he  lived  on  terms 
of  close  intimacy  with  the  king.  The  story 
that  he  was  appointed  maitre  de  chapelle  at 
Cambrai  is  probably  false.  At  last  he  was 
undoubtedly  ajipointed,  by  Emperor  Maxi- 
milian I.,  to  the  post  of  provost  of  the  cathe- 
dral chapter  at  Conde  (not,  as  has  been  re-, 
jjorted,  to  a  post  in  Vienna).  The  date  of 
this  last  appointment  was  not  earlier  than 
1515.  Josquin,  the  most  distinguished  of 
Okeghem's  pupils,  has,  with  reason,  been 
called  the  first  really  great  composer.  He 
was  the  first  man  to  make  the  intricacies  of 
Netherlandish  counterpoint  the  vehicle  for 
ideal  musical  beauty  and  expressiveness. 
His  fame  during  his  own  lifetime  was  such 
as  few  composers  have  ever  enjoyed  ;  it  was 
virtually  universal,  reaching  from  England 
to  Italy.     He   was   everywhere  i-ecognized 


419 


DESQUESKES 


unhesitatingly  as  the  greatest  musician  of 
the  age  ;  no  one  dared  to  call  himself  his 
rival.  Compared  with  the  huge  mass  of  his 
compositions,  but  few  were  published  dui-- 
ing  his  lifetime  ;  he  was  punctiliously  care- 
ful in  writing,  and  worked  long  over  a 
composition  before  he  would  allow  it  to  be 
performed.  He  was  evidently  a  man  of 
hi'ih  efeueral  culture,  even  for  his  time. 
He  was  buried  in  the  choir  at  Coude.  Our 
portrait  is  from  the  one  of  him  in  Van  der 
Straeten's  "La  Musique  aux  Pays-Bas " 
(Brussels,  1867).  The  original  in  the 
church  of  Saiute-Gudule,  in  Brussels,  has 
disappeared.  The  following  is  a  list  of  his 
most  important  published  works  :  19  Masses. 
In  Petrucci's  Lib.  i.  (Venice,  1502) :  L'omme 
arme  super  voces  musicales  ;  La  sol  fa  re  mi  ; 
Gaudeamus  ;  Fortuna  desperata  ;  L'omme 
arme,  sexti  toni.  In  Petrucci's  Lib.  ii. 
(Venice,  1503) :  Ave  Maris  stella  ;  Hercu- 
les dux  Ferrarse ;  Malheur  me  bat  ;  Lami 
Baudichon  ;  Una  musque  de  Byscaia ; 
Dung  aultre  amer.  In  Petrucci's  Lib.  iii. 
(Fossombrone,  1516) :  Mater  jsatris  ;  Fay- 
saut  regres ;  Ad  fugam  ;  Di  dadi  super 
n'arai  je  ;  De  beata  Virgine  ;  Sine  nomine, 
lu  Otto's  "MissiB  xiii."  (Nuremberg,  1539): 
Da  pacem  ;  Pauge  lingua.  Especially  fine 
are  his  masses  :  La  sol  fa  re  mi.  Ad  fugam, 
De  beata  Virgine,  Pauge  lingua,  and  Da 
pacem ;  his  motets  on  the  genealogies  in 
the  first  chapters  of  Matthew  and  Luke  ; 
his  Miserere,  5  voc;  Planxit  autem  David, 
and  Absalon  fili  mi,  4  voc. — Ambros,  iii. 
200  ;  Monatschrift  fiir  Musikgeschichte,  iii. 
212  ;  Naumann  (Ouseley),  i.  310  ;  Grove  ; 
Eockstro,  54. 

DESQUESNES  (d'Esquenes),  JEAN, 
lived  at  the  beginning  of  the  17th  century. 
He  is  supposed  to  have  been  a  native  of 
Mons,  or  Saint-Ghilain,  in  Hainaut.  He  is 
the  author  of  a  collection  of  compositions 
entitled  :  Madrigali  di  Giov.  Desquesues,  il 
primo  libro  a  cinque  voci  (Antwerp!,  1591). 
Pougin  says  that  documents  lately  discov- 
ered prove  thst  he  was  in  the  service  of 
Marguerite  of  Parma,  Queen  Kegeut  of  the 


Netherlands,  as  cantor,  and  that  through 
her  influence  he  obtained  the  two  preben- 
daries of  Tournay  and  Aix  from  her  son, 
Alexander  of  Parma.  It  is  also  probable 
that  it  is  his  name  which  is  registered  as  a 
composer  in  the  exchequer  of  the  Archduke 
Ernest,  governor  of  the  Netherlands,  in 
1630.— Biog.  nat.  de  Belgique,  v.  787 ;  Fe- 
tis  ;  do.,  Supplement,  i.  264  ;  Mendel ;  do., 
Ergiinz.,  84. 

DESSAUER,  JOSEPH,  born  in  Prague, 
May  28,  1798,  died  at  Modling,  near  Vien- 
na, July  8,  1876.  He  studied  the  pianoforte 
at  Prague  under  Tomascheck,  and  composi- 
tion under  Dionys  Weber  ;  visited  Najjles 
in  1821,  and  travelled  in  Italy,  France,  and 
England  in  1831-32.  His  songs  were  well 
received  in  Paris,  and  his  reputation  in 
Germany  is  chiefly  due  to  them.  "Works — 
Operas :  Lidwinna,  performed  at  Prague  in 
1836  ;  Der  Besuch  in  Saiut-Cyr,  Dresden, 
1838  ;  "Paquita,  Vi- 
enna, 1851  ;  Do- 
minga,  oder  die 
Schmuggler  in  deu 
Pyrenaen,  1860  ;  Oberon  ;  and  many  songs 
and  pianoforte  pieces. — Allgem.  d.  Biogr.,  v. 
74  ;  Fotis  ;  do.,  Sui^ploment,  i.  264  ;  Men- 
del ;  Wurzbach. 

DESSOFF,  OTTO  (FELIX),  born  in 
Leipsic,  Jan.  14,  1835,  still  living,  1888. 
Studied  at  the  Leipsic  Conservatorium  in 
1851-54  under  Moscheles,  Plaidy,  Haupt- 
mann,  and  Rietz.  He  was  a  conductor  suc- 
cessively in  Chemnitz,  Altenburg,  Diissel- 
dorf,  Aix-la-Chapelle,  Magdeburg,  and  Cas- 
sel ;  and  in  1860  became  Kapellmeister  at 
the  Vienna  Hof-ojjer.  The  same  year  he 
was  chosen  to  conduct  the  Pliilhai-mouic 
Concerts  in  Vienna,  and  in  1861  he  was 
made  professor  of  composition  at  the 
Vienna  Conservatorium.  Since  1875  he 
has  been  Hof-Kapellmeister  at  Carlsruhe. 
He  is  considered  one  of  the  best  German 
conductors.  Works :  Sonata  for  pianoforte  ; 
songs ;  and  some  orchestral  and  chamber 
music  never  published. —  Mendel ;  Fetis, 
Supplement,  i.  264. 


Z^  ^^^^>&U.Oiy^ 


42U 


DESSY 


DESSY,  BATTISTA,  born  at  Cagliaii, 
Italy  ;  coutemporary.  He  has  beeu  con- 
ductor at  several  theatres,  and  is  maestro 
concertatore  and  conductor  at  the  theatre 
of  Cagliari,  where  he  produced,  about  1875, 
two  operas :  Don  Martino  d'  Ai-agona,  and 
Un  cuore  di  marinajo.  A  third,  Suor  Ter- 
esa, has  not  been  played. — Fetis,  Supple- 
ment, i.  264. 

DESTOUCHES,  ANDRE  CAEDINAL, 
born  in  Paris  in  1672,  died  there  in  1749. 
He  went  to  Siam  with  the  Jesuit  father 
Tachard,  intending  to  join  the  order  of 
Jesus  himself,  but  on  his  return  became  a 
professor  of  music,  and  brought  out  an 
opera,  Isse,  at  the  court,  in  1697,  which 
was  successful  from  its  originalitj',  He 
had  never  studied  composition  at  this  time, 
and  was  obliged  to  have  the  assistance  of 
a  thorough  musician  wheu  he  wished  to 
reduce  his  ideas  to  music.  He  afterwards 
studied  music  thoroughly,  especially  coun- 
terpoint ;  but  his  subsequent  jjroductions 
were  not  as  successful  as  the  first,  which 
was  represented  again  at  the  Opera  in  1768. 
He  was  superintendent  of  the  King's  music 
and  inspector  general  at  the  Opera,  from 
1713  until  his  death.  ^Yorks  :  Amadis  de 
Grece,  given  in  1699  ;  Marthcsia,  reine  des 
Amazones,  Fontainebleau,  1699  ;  Omphale, 
Paris,  1701 ;  Le  caruaval  et  la  folic,  1704  ; 
CaUirhoe,  1712  ;  Telemaque,  1718  ;  Semi- 
ramis,  1725  ;  les  Elements,  opera-ballet 
(with  Lalande),  1726  ;  Les  stratagemes  de 
I'amour,  1726.  Louis  XIV.  pensioned  him 
late  in  life. — Fetis  ;  Larousse  ;  Mendel ; 
Riemaun. 

DESTOUCHES,  FRANZ  SERAPH  VON, 
born  in  Munich,  Jan.  21,  1772,  died  there, 
Dec.  10,  1844.  Dramatic  composer,  pupil 
of  Josef  Haydn  in  Vienna  (1787-91) ;  be- 
came musical  director  at  Erlangen  in  1797, 
Conzertmeister  at  Weimar,  1799,  professor 
of  harmony  at  the  university  of  Laudshut, 
in  1810,  Hof-Kapellmeister  at  Homburg  in 
1826,  and  retired  to  Munich  in  1842. 
Works  :  Die  Thomasnacht,  opera,  given  in 
Munich,  1792  ;  Das  Missverstiindniss,  ojier- 


etta,  Weimar  ;  Die  bliihende  Aloe,  do.,  ib.  ; 
Der  Teufel  und  der  Schneider,  comic  opera, 
Munich,  1843  ;  Music  to  Schiller's  William 
Tell,  Maid  of  Orleans,  Wallenstein's  Camp, 
Bride  of  Messina,  to  Werner's  Wanda,  and 
to  Kotzebue's  Hussiten  von  Naumburg  ; 
Masses  and  other  church  music ;  Concerto 
for  pianoforte  and  orchestra  ;  Sonatas, 
fantasias,  variations,  etc.,  for  pianoforte ; 
Sonatas  for  do.,  violin,  and  violoncello. 
— AUgem.  d.  Biog.,  v.  77  ;  Fetis ;  Mendel ; 
Riemann. 

DESTRIBAUD,  PAUL,  bom  about  1828, 
still  living,  1888.  Pupil  at  the  Paris  Con- 
servatoire under  Hippolyte  Colet.  He  is 
the  author  of  several  romances,  and  Venus 
au  moulin  d'Ampijshros,  operetta,  Bouflfes 
Parisiens,  1856 ;  and  Sylvio-Sylvia,  comic 
opera,  Opera  Comique,  1861.  He  became 
a  financier  and  gave  up  musical  composi- 
tion.— Fetis,  Supplement,  i.  264. 

DESVIGNES,  \1CT0R  FRAN(,'OIS, 
born  at  Treves,  June  5,  1805,  died  at  Metz, 
Dec.  30,  1853.  Dramatic  composer,  stud- 
ied at  first  the  violin,  and  was  for  years 
conductor  in  the  theatres  of  provincial 
cities,  and  after  a  stay  in  Paris,  during 
which  he  completed  his  studies  in  harmony, 
resumed  this  life  until  he  settled  at  Metz, 
where  he  became  director  of  the  theatre. 
In  1835  he  founded  a  conservatory,  which 
flourished  to  such  a  degree  that  it  was 
taken  in  charge  by  the  government  in  1841, 
as  a  branch  of  the  Paris  Conservatoire. 
Member  of  Metz  Academy.  Works:  Two 
trios  for  pianoforte,  violin,  and  violoncello  ; 
Trio  for  harp,  violin,  violoncello  ;  Adagio 
for  do.  ;  Duo  for  harp  (or  pianoforte),  and 
violin  ;  6  duos  coucertants  for  pianoforte 
and  violin  ;  3  suites  of  canons  without 
words;  4  do.,  with  words;  Many  sacred 
and  secular  choruses  ;  Romances  and  melo- 
dies ;  unpublished  :  Stabat  Mater,  per- 
formed at  Metz,  1833  ;  Lequel  des  trois, 
comic  opera  ;  La  belle  au  bois  dormant, 
fairy  opera ;  Symphony  in  D  ;  9  overtures 
for  grand  orchestra  ;  Several  works  of 
chamber  music  ;  Romances,  chansouuettes. 


431 


DE    SWERT 


choruses,  serenades,  etc.,  for  one,  two,  and 
three  voices. — Fctis,  Supplement,  i.  264  ; 
Gaudar,  V.  F.  Desvignes  (Metz,  1854). 
DE  SWEKT,  JULES,  born  at  Louvaiu, 
Belgium,  Aug.  15, 
1843,  still  living,  1888. 
Dramatic  composer 
and  violoncellist ;  son 
of  Hermann  De  Swert, 
Belgian  musician 
(born  in  1803),  and 
brother  of  Isidore  De 
Swert  (1830),  violon- 
cellist, and  Jean  De 
Swert  (1832),  violinist 
and  pianist.  He  played  in  public  before 
he  was  nine  years  of  age,  went  to  Brussels 
in  185G  and  became  a  pupil  of  Servais  at 
the  Conservatoire,  where  he  won  the  first 
violoncello  prize  in  1858.  He  has  travelled 
l^rofessionally  in  Belgium,  Holland,  Ger- 
many, and  England,  became  Conzertmeister 
at  Diisseldorf  in  18G5,  first  violoncellist  in 
the  court  orchestra  at  Weimar  in  1868, 
roj'al  Conzertmeister,  solo  violoncellist  and 
professor  in  Berlin  in  1869.  He  resigned 
in  1873,  to  undertake  new  concert  tours, 
and  made  his  home  first  at  Wiesbaden,  and 
since  1881  at  Leipsic.  Works  :  Die  Albi- 
genser,  02)era,  given  at  Wiesbaden,  1878  ; 
Graf  Hanimerstein,  do.,  Mainz,  1884  ;  Nord- 
seefahrt,  symphony ;  Three  concertos  for 
violoncello  with  orchestra  or  j^ianoforte 
(Mainz)  ;  Itomances  for  do.,  with  piano- 
forte, op.  4  ;  Fantasia,  with  orchestra  or 
pianoforte,  op.  25  (Mainz)  ;  Fantaisie  de 
salon,  op.  26  ;  3  duos  de  salon,  pour  violou- 
celle  et  piano  ;  Barcarolle,  Capriccio,  Ma- 
zurka, op.  29  (Cassel)  ;  3  morceaux  pour 
violoncelle  et  piano. — Fetis,  Supplement,  i. 
265  ;  Eiemann. 

DETTINGEN  TE  DEUM,  music  by 
Handel,  written  in  commemoration  of  the 
victory  of  Dettingen,  June  27,  1743.  On 
the  return  of  Iving  George  H.  from  Dettin- 
gen, where  he  commanded  in  person,  a 
public  thanksgiving  was  ap23ointed,  and 
Handel   commissioned    to    prepare     a   Te 


Deum  and  an  Anthem  for  the  occasion. 
The  original  score  of  the  Te  Deum,  in 
Buckingham  Palace,  is  dated  at  the  begin- 
ning, July  17,  1743,  but  is  not  dated  at  the 
end ;  the  Anthem,  in  the  British  Museum, 
is  dated  July  30,  1743,  at  the  beginning,  and 
August  3,  1743,  at  the  end.  The  two  were 
publicly  rehearsed  at  the  Chapel  Royal, 
Whitehall,  Nov.  18th  and  25th,  and  per- 
formed at  the  thanksgiving  in  the  Chapel 
Eoyal,  Saint  James's,  Nov.  27,  1743.  This 
is  one  of  the  greatest  of  Handel's  later 
works.  It  is  claimed  that  he  was  indebted 
for  many  of  the  themes  to  a  similar  work 
by  Francesco  Antonio  Urio.  The  Te  Deum 
was  published  first  by  Wright,  the  Anthem 
by  Arnold ;  jjublished  b}'  Handel  Society 
(London,  1846),  and  by  Hilndelgesellschaft 
(Leipsic,  1866).— Rockstro,  Handel,  271  ; 
Grove,  iv.  209 ;  E.  Prout,  Monthly  Musical 
Record,  Nov.  1,  1871. 

DEUCALION  ET  PYRRHA,  opera  in 
five  acts,  text  by  Sainte-Foix  and  Morand, 
music  by  Pierre  Montan  Berton  in  collabo- 
ration with  Giraud,  represented  at  the  Aca- 
domie  Royale  de  Musique,  Paris,  Sept.  30, 
1755  ;  opera-comique  in  one  act,  text  by 
Michel  Carre  and  Jules  Barbier,  music  by 
Mont-fort,  given  at  the  Opera  Comique,  Oct. 
8,  1855. 

DEUTSCHE  MESSE  (German  Mass),  in 
F,  text  by  Johana  Philipp  Neumann,  for 
four  voices,  with  wind  instruments  or  organ, 
bj-  Franz  Schubert,  composed  in  1826  for 
the  students  of  the  Polj'technic  Institute, 
Vienna.  Second  arrangement,  for  male 
voices,  1827.  Published  by  Gotthard  (Vi- 
enna). 

DEUTSCHE  MICHEL,  DER,  German 
opera,  text  and  music  by  Adolph  ]\Iohr, 
represented  at  Breslau,  May  8 ;  Nuremberg, 
Oct.  28  ;  Magdeburg,  Dec.  11 ;  and  Leip- 
sic, Dec.  14,  1887. 

DEUTSCHES  REQUIEM,  EIN  (A  Ger- 
man Requiem),  biblical  poem,  for  solo 
voices,  chorus,  and  orchestra,  bj'  Brahms, 
op.  45,  first  performed  in  Vienna,  at  the 
Gesellschafts  Conzert,  1868.     Published  by 


DKUTSOIILANDS 


Rietei'-Biedermami.  Given  In-  tlic  [Milwau- 
kee (Wiscousiu)  Musikverein,  1875. — Woch- 
enblatt  (1870),  5,  20,  35,  52,  67. 

DEUTSCHLANDS  AUFERSTEHUNG 
(Germany's  Kesurrectiou),  festival  cantata 
for  male  voices  and  orchestra,  by  Joachim 
Eaff,  first  ijerformed  in  1863.  Written  for 
the  fiftieth  anniversary  of  the  memorable 
battle  of  Leipsic,  Oct.  16-19,  1813,  which 
preci2)itated  the  downfall  of  Najjoleon. 

DEUX  AMOUES,  ojjera  in  one  act,  text 
by  Eugene  Cormon  and  Amedee  Achard, 
music  by  Gevaort,  rei)reseuted  at  Baden- 
Baden,  July  31,  1861. 

DEUX  AELEQUINS,  LES,  opera-co- 
mique  in  one  act,  text  by  Mestepes,  music 
by  Emile  Jonas,  represented  at  the  Fantai- 
sies  Parisieunes,  Dec.  29,  1865. 

DEUX  AVARES,  LES  (The  Two  Misers), 
comedy  in  two  acts,  text  by  Fenouillot  de 
Falbaire,  music  by  Gretry,  represented  at 
the  Comedie  Italienue,  Paris,  Dec.  6,  1770. 
It  had  been  previously  played,  Oct.  17,  be- 
fore the  court  at  Foutainebleau.  The  dia- 
logue is  feeble,  but  the  music  is  among 
Gretry 's  best  compositions.  I  due  avari, 
an  Italian  translation  of  the  text,  with  mu- 
sic by  Nicolo  Isouard,  was  given  in  Malta, 
about  1797.  The  original  text,  with  new 
music  by  Agnelli,  excei^tiug  the  famous 
chorus  by  Gretrj',  "La  garde  passe,  il  est 
minuit,"  was  produced  at  the  Marseilles 
Theatre  in  ilarch,  1860. 

DEUX  AVEUGLES,  LES  (The  Two 
Blind  Men),  operette  in  one  act,  text  by 
Jules  Moiueaux,  nuisic  by  Offenbach,  rep- 
resented at  the  Bouffes  Parisiens,  July  5, 
1855.  It  was  given  in  English,  with  the 
title  Beggar  my  Neighbour,  at  the  Gallery 
of  Illustration,  London,  in  1869. 

DEUX  BILLETS,  LES,  salon  opera,  text 
by  Florian,  music  by  Charles  Poisot,  rep- 
resented at  the  Salle  Beethoven,  Paris, 
April,  1858  ;  music  by  Adolphe  Blanc,  Pa- 
ris, 1868  ;  music  by  Ferdinand  Poise,  Athe- 
nee,  Paris,  Feb.  19,  1870. 

DEUX  COUVENTS,  LES  (The  Two 
Convents),  opera  in  three  acts,  text  by  Des- 


jsrez,  music  by  Gri'try,  represented  at  the 
Comudie  Italienne,  Paris,  Jan.  12,  1792. 

DEUX  FAMILLES,  LES  (The  Two  Fam- 
ilies), drama  in  three  acts,  text  by  Planard, 
music  l)y  Labarre,  represented  at  the  Oi^i'ra 
Coinique,  Paris,  Jan.  11,  1831.  Subject 
from  the  history  of  the  Cid.  The  bass  air, 
"Non,  de  ma  juste  colere,"  is  classic  and 
one  of  the  most  beautiful  in  the  French 
rei:)ertory. 

DEUX  JOUENEES,  LES  (The  Two 
Days),  lyric  comedy  in  three  acts,  text  by 
Bouilly,  music  by  Cherubiui,  rejjresent- 
ed  at  the  Theatre  Feydeau,  Paris,  Jan.  16, 
1800.  The  scene  is  laid  in  the  time  of 
Cardinal  Mazarin,  and  the  hero  is  Antonio, 
a  little  Savoyard,  who  saves  the  proscribed 
Count  Armand  by  carrying  him  out  of  Paris 
concealed  in  a  water-cask.  This  ojjera, 
which  is  generally  considered  Cherubini's 
greatest  work,  is  called  in  Germany  Der 
Wassertriiger  (The  Water-carrier).  The 
same  subject  is  treated  in  Le  porteur 
d'eau,  opera-comique  in  one  act,  music  by 
Lemiere  de  Corvey,  Paris,  1801 ;  Le  due 
giornate,  Italian  comic  opera,  text  by  Fop- 
pa,  music  by  Simon  Mayr,  Milan,  1801  ; 
The  Escajses,  or  the  Water-carrier,  English 
oj^era,  by  Thomas  Attwood  (with  part  of 
Cherubini's  music),  London,  1801  ;  and  II 
portatore  d'  acqua,  Italian  opera,  text  by 
d'  Arienzo,  music  by  Paolo  Fabrizi,  Naples, 
1841.— Hansliek,  Moderne  Oper,  86. 

DEUX  LETTEES,  LES  (The  Two  Let- 
ters), opera-comique  in  one  act,  text  by  De- 
jaure,  music  by  Boieldieu,  represented  at  the 
Theatre  Feydeau,  Paris,  Aug.  4,  1796.  Op- 
era in  two  acts,  music  by  L.  E.  Jadin,  given 
at  the  Favart,  Paris,  1797. 

DEUX  MOTS  (Two  Words),  ou  une  nuit 
dans  la  foret  (A  Night  in  the  Forest),  com- 
edy in  one  act,  text  by  Marsollier,  nmsic  by 
Dalayrac,  first  given  in  Paris  in  1798  ;  rep- 
resented at  the  Opera  Comique,  June  9, 
1806.  A  French  officer  and  his  servant, 
who  have  taken  refuge  for  the  night  in  a 
forest  inn,  are  saved  from  the  attack  of  a 
robber  by  the  timely  warning  of  the  land- 


423 


DEUX 


lady's  pretty  maidservant.  The  same  sub- 
ject is  treated  in  the  German  opera  Zwei 
^Yorte,  oder  eine  Nacbt  im  "Walde,  by  Con- 
radiu  Kreutzer,  Vienna,  1810. 

DEUX  NUITS,  LES  (The  Two  Nights), 
opora-comique  iu  three  acts,  text  by  Scribe 
and  Bouillj',  music  bj'  Boieldieu,  repre- 
sented in  Paris,  May  20,  1829.  This  work, 
which  contains  many  charming  numbers, 
worthy  of  the  author  of  La  dame  blanche, 
was  a  failure  on  account  of  the  uninterest- 
ing libretto,  the  j)lot  of  which  turns  on  the 
ruses  of  a  valet.  It  was  the  composer's  last 
dramatic  work,  and  it  is  probable  that  his 
disappointment  at  its  reception  hastened 
the  disease,  the  germs  of  which  he  had 
brought  from  Russia.  An  oj)era-comique 
of  the  same  title,  in  two  acts,  text  by  Cofiu- 
Eosny  and  Eeraud,  music  bj'  Leblauc,  was 
given  at  the  Theatre  de  la  Gaite,  Paris,  May 
31,  1802. 

DEUX  P^CHEUES,  LES  (The  Two 
Fishermen),  oprrette  in  one  act,  text  by 
Bourget  and  Dujjeuty,  music  by  Offenbach, 
represented  at  the  Bouiifes  Parisiens,  Nov. 
13,  1857. 

DEUX  PETITS  SAVOYARDS,  LES 
(The  Two  Little  Savoyards),  opera-comique 
in  one  act,  text  by  Marsollier,  music  by 
Dalayi'ac,  represented  at  the  Comedie  Ita- 
lienue,  Paris,  Jan.  11,  1789.  Two  little  Sa- 
voyards, who  attract  the  attention  of  a  Sei- 
gneur at  a  fair  held  in  his  park,  and  who 
refuse  his  offer  of  adoption  because  they 
are  unwilling  to  leave  their  mother,  turn 
out  to  bo  his  nephews.  The  libretto,  de- 
spite its  silly  sentimentality,  is  pleasing, 
and  the  music  is  full  of  grace.  The  song, 
in  dialect,  of  the  two  Savoyards,  "  Escouto 
d'Jeannetto,"  was  long  popular  in  France. 

DEUX  EEINES  DE  FRANCE,  LES 
(The  Two  Queens  of  France),  drama  in  four 
acts,  text  by  Ernest  Legouve,  music  by 
Charles  Gounod,  represented  at  the  Theatre 
Italien,  Paris,  Nov.  27,  1872.  Subject,  the 
excommunication  of  Philippe  Auguste,  King 
of  France,  who  had  divorced  Lis  queen 
Ingelburge,  and,  in  defiance  of  a  papal  bull, 


married  (119G)  Agnes  de  Meranie,  and  the 
subsequent  struggle  between  him  and  Pope 
Innocent  III.  The  characters  of  the  two 
queens,  Ingelburge  and  Agnes,  were  repre- 
sented by  Mmes  Dica-Petit  and  Tholer  ;  the 
other  roles  of  Philipi^e  Auguste,  the  Comte 
de  Landresse,  the  Cardinal,  and  the  Comte 
de  Nevers,  by  Bresil,  Berton  pere,  Dupont- 
Vernon,  and  Debray. 

DEVASINI,  ,  Italian  comjjoser,  con- 

temi^orary.  He  studied  at  the  Milan  Con- 
servatorio  until  1842,  composing  while  there 
his  Francesca  da  Rimini,  a  musical  drama, 
played  by  bis  fellow-students  at  the  Con- 
servatorio,  1841,  and  Un  giorno  di  nozze, 
opera  buffa,  ib.,  1842.  He  has  written  also 
a  sextet  for  fiute,  oboe,  two  clarinets, 
horn  and  bassoon,  and  other  music. — Fe tis  ; 
Mendel. 

DEVIENNE,  FRANgOIS,  born  at  Join- 
ville  (Haute-Marne),  Jan.  31,  1759,  died  at 
Charenton,  Sept.  5,  1803.  Dramatic  com- 
poser, tlute  and  bassoon  player,  pupil  of  his 
brother,  who  was  musician  to  the  Duke  of 
Zweibriicken.  He  became  musician  to  the 
Cardinal  de  Roliau,  flute  jilayer  in  the  band 
of  the  Gardes-Suisses,  and  in  1788  bassoon 
player  in  the  orchestra  of  the  Theatre  de 
Monsieur.  He  was  also  professor  at  the 
Conservatoire  amtil  1802.  His  intense  ap- 
plication to  his  musical  duties  and  to  com- 
position, to  which  he  devoted  eight  hours  a 
day,  resulted  in  brain  trouble,  and  he  died 
in  the  insane  hospital  of  Charenton.  He 
left  a  valuable  "Methode  de  flute  theorique 
et  pratique  "  (Paris,  1795),  which  has  passed 
through  several  editions.  Works — Operas  : 
Encore  des  Savoyai-ds,  given  in  Paris,  The- 
atre de  Monsieur,  1789  ;  Le  mariage  clan- 
destin,  Theatre  Montansier,  1791,  and  in 
Hamburg,  1798  ;  Les  precieuses  ridicules, 
1791 ;  Les  visitandines,  Les  quiproquos 
espagnols,  Theatre  Feydeau,  1792  ;  Rose  et 
Aurele,  ib.,  1793  ;  Agnes  et  Felix,  ou  les 
deux  espiegles,  1794  ;  Valecour,  ou  un 
tour  de  page,  1797  ;  Les  comediens  ambu- 
lants,  1798  ;  Le  valet  de  deux  maitres,  1799. 
His    vocal    music    comprised :     Romances 


434 


DETir;s 


d'Estello,  with  pianoforte  and  flute  ;  Eo- 
mauccs  do  Gousalve  de  Cordoue,  piano- 
forte, and  flute  or  violin,  op.  53  (1795) ; 
Eomances  patriotiques  ;  Chansons  republi- 
caines,  a  Tusage  des  fetes  nationales  ;  Pre- 
miere livraison  de  six  romances,  paroles  de 
Lablee,  with  jjianoforte  and  havp.  His  or- 
chestral music  consisted  of  sj'mphonies, 
such  as  Hymphonio  concertante  pour  haut- 
bois,  ou  clarinette  et  basson  (1793)  ;  Sym- 
phonie  concertante  pour  flute,  hautbois, 
cor  et  basson,  avec  orchestre  (1794)  ;  La 
Bataille  de  Jemmajses,  for  twenty  instru- 
ments (179G) ;  Ouvertures  pour  instru- 
ments h  vent  a  I'usage  des  fetes,  nationales, 
and  many  others  ;  Concertos,  quartets,  trios, 
sonatas,  and  many  other  pieces  of  which 
Fetis  gives  a  list,  for  flute,  for  pianoforte, 
etc.,  in  which  one  of  the  numbers  contains 
158  duets  for  various  instruments,  pub- 
lished in  Paris,  London,  OiTenbach,  and 
Berhn  (1788-1801).  He  published  also: 
Douze  suites  d'harmonies  ii  huit  ct  douze 
parties  (Paris,  1798-1801).— Fetis ;  do., 
Supplement,  266  ;  Larousse  ;  Mendel ;  Eie- 
mann. 

DEVIL'S  OPEEA,  THE,  English  opera 
in  two  acts,  test  by  George  Macfarren,  mu- 
sic by  George  Alexander  Macfarren,  repre- 
sented at  the  English  Opera  House,  Lon- 
don, Aug.  13,  1838.  This,  the  composer's 
first  dramatic  work,  at  once  drew  public 
attention  to  him. 

DEVIN  DU  VILLAGE,  LE  (The  Village 
Sorcerer),  pastoral  opera  in  one  act,  text  and 
music  by  Jean  Jacques  Eousseau,  first  rep- 
resented at  Fontainebleau,  Oct.  18,  1752  ; 
and  at  the  Academie  Royale  de  Musique, 
Paris,  March  1,  1753.  The  literai-y  reputa- 
tion and  social  position  of  the  author  in- 
sured this  mediocre  work  a  success  which 
it  would  not  otherwise  have  had.  It  was 
last  played  in  1829,  after  more  than  four 
hundred  representations.  At  last  a  wig 
thrown  upon  the  stage  during  one  of  the 
scenes,  created  such  a  laugh  that  it  was 
withdrawn.  In  the  original  east  Cuvilier, 
Jelyotte,  and  Mile  de  Fel  sang  respectively 


the  2)arts  of  Lo  Devin,  of  Colin,  and  of  Co- 
lette. Notwithstanding  that  the  music  of 
Le  devin  du  village  has  been  generally  at- 
tributed to  Rousseau,  who  also  claimed  it 
as  his  own,  there  seems  to  be  some  doubt 
concerning  its  authorship,  and  Castil-Blaze 
asserts  that  it  was  composed  by  Granet,  an 
obscure  musician  of  Lyons,  and  only  the 
libretto  belongs  to  Rousseau ;  but  the 
character  of  the  music  itself  would  seem 
enough  to  show  that  it  was  not  the  work 
of  a  professional  musician.  The  work  had 
many  imitations  and  parodies,  such  as 
Annette  et  Lubin,  by  Blaise,  Paris,  1762 ; 
Rose  et  Colas,  Monsigny,  Paris,  1761 ;  The 
Cunning  Man,  Dr.  Burney,  London,  1766  ; 
L'astien  und  Bastienne,  Mozart,  Vienna, 
1768 ;  Rose  and  Colin,  Charles  Dibdiu, 
London,  1778;  Colin  et  Colette,  Vanden- 
broeek,  Paris,  1789 ;  Annette  et  Lubin, 
Jadiu,  Paris,  1791.— Fetis,  vii.  496  ;  Castil- 
Blaze,  Moliere  Musicien,  ii.  408  ;  Edwards, 
Hist,  of  the  Opera,  i.  261. 

DE  VOLDER,  PIERRE  JEAN,  born  in 
Antwerp,  July  27,  1767,  died  in  Brussels, 
June  27, 1841.  Violinist,  pupil  of  Redin,  vio- 
linist at  the  cathedral.  He  became  first  vio- 
linist of  the  Church  of  Saint-Jacques  at  the 
age  of  sixteen,  then  at  the  theatre,  and  sub- 
sequently was  leader  of  the  Concert  Orches- 
tra. In  1794  ho  began  the  manufacture  of 
organs  at  Ghent,  and  became  celebrated  for 
his  instruments,  of  which  he  constructed 
about  seventj'-eight.  In  1831  he  removed 
his  manufactory  to  Brussels,  where  he  re- 
sided until  his  death.  Works  :  5  masses 
for  four  voices  and  orchestra  ;  2  concertos 
for  violin  ;  2  symphonies  concertantes  ;  9 
quartets  for  two  violins,  viola  and  bass  ;  La 
bataille  d'lena,  symphony  for  full  orchestra  ; 
La  bataille  de  Waterloo  ;  La  jeunesse  d'Henri 
v.,  ojaera  in  three  acts;  Hymns,  motets,  and 
litanies ;  Fantaisies  for  two  orchestras ; 
Nocturnes  and  divertissements  for  several 
instruments. — Biog.  nat.  de  Belgique,  v. 
847  ;  Fetis. 

DEZftDE    (Dezaides),    N.,    born    about 
1740,    died   in   Paris  in   1792.      Dramatic 


DIABELLI 


composer  ;  his  nationality  is  iinlvnown, 
some  biographers  calling  him  a  German, 
others  maintaining  that  he  was  born  in  Ly- 
ons. He  himself  never  knew  the  year  of 
his  birth,  nor  did.  any  member  of  his  family. 
He  received  the  education  of  a  gentleman, 
first  at  college,  then  under  the  care  of 
an  abbe  who  taught  him  music  and  the 
harj).  He  went  to  Paris  to  finish  his  mu- 
sical education,  and  in  consequence  of  his 
efforts  there  to  find  out  the  source  of  the 
income  which  he  received  regularly  through 
a  legal  firm,  he  was  thrown  upon  his  own 
resources  and  obliged  to  make  music  his 
profession.  In  1785  he  became  composer 
to  Duke  Maximilian  of  Zweibriicken,  after- 
wards Elector  and  King  of  Bavaria,  and 
received  the  title  and  pay  of  captain  on 
condition  of  going  to  Zweibriicken  once  a 
year  for  two  months ;  but  his  best  work  was 
done  in  Paris  for  the  Comedie  Franjaise. 
"Woi'ks — Operas,  given  at  the  Theatre  Ita- 
lien  :  Julie,  1772  ;  L'erreur  d'un  moment, 
Le  sti-atageme  decouvert,  1773  ;  Les  trois 
fermiers,  1777 ;  Zulima,  Le  portenr  de 
chaises,  1778 ;  A  tromj^eur,  trompeur  et 
demi,  1780  ;  Cecile,  1781 ;  Blaise  et  Babet, 
1783  ;  Alexis  et  Justine,  1785  ;  Auguste  et 
Theodore,  ou  les  deux  pages,  1789  ;  Fer- 
dinand, 1790  ;  Pauline  et  Clairette,  ou  les 
deux  espicgles,  1792  ;  La  fete  de  la  cin- 
quautaine,  1796.  At  the  Opera :  Fatme,  ou 
le  langage  des  fleiirs,  1777;  Peroune  sauvage, 
1783  ;  Alcindor,  1787.  A  musical  comedy 
in  one  act,  by  Mile  Dezede,  his  daughter, 
then  fifteen  years  old,  was  represented  in 
1781  at  the  Italiens,  Paris. — Fetis  ;  do., 
Sui^plement,  i.  267  ;  Clement,  Mus.  celebres, 
147  ;  Larousse  ;  Mendel. 

DIABELLI,  ANTON,  born  at  Mattsee, 
Salzburg,  Sept.  6,  1781,  died  in  Vienna, 
April  8,  1858.  He  received  his  earliest 
music  lessons  from  his  father,  became  a 
choir-boy,  and  while  attending  the  Munich 
Latin  school  continued  his  musical  studies. 
He  entered  a  convent  to  study  theology, 
but  found  time  for  many  compositions, 
which  he  submitted  to  his  father's  friend, 


Michael  Haydn.  On  the  secularization  of 
the  Bavarian  monasteries  in  1803,  he  gave 
up  the  idea  of  becoming  a  priest,  and  went 
to  Vienna,  where  he  was  well  received  by 
Joseph  Haydn,  and  taught  the  pianoforte 
and  the  guitar  until  1818,  when  he  went 
into  the  music  publishing  business  with 
Peter  Cajijii,  and  in  1824  became  the  head 
of  the  firm  of  Diabelli  &  Co.,  from  which 
he  retired  in  1852.  His  compositions  are 
numerous,  and  sometimes  interesting,  if  not 
solid.  Works  :  Adam  in  der  KJemme,  oj)- 
era,  performed  but  once,  at  Vienna,  in  1809  ; 
Church  music,  including  the  Landmesseu, 
or  masses  for  the  country  ;  Choruses,  Die 
Betende  von  Mathisson,  Weihuachtshed, 
Der  Engel  der  Geduld  ;  Waltz,  upon  which 
Beethoven  wrote  33  variations  ;  Sonatas,  ron- 
dos, variations,  songs,  and  many  easy  pieces 
and  arrangements  for  young  pianists. — All- 
gem,  d.  Biogr.  ;  Fetis  ;  Mendel ;  Wurzbach. 

DIABLE  A  L'ECOLE,  LE  (The  Devil  at 
School),  oj)cra-comique  in  one  act,  text  by 
Scribe,  music  by  Ernest  Boulanger,  repre- 
sented at  the  Opera  Comique,  Paris,  Jan. 
17,  1842.  Scene  in  Italj'.  Stenio,  who  has 
staked  his  fortune  against  Babylas,  sent 
upon  earth  by  Satan  to  win  a  soul,  and  lost, 
has  it  returned  on  condition  of  delivering 
himself  up  at  midnight.  Fiamma,  his  fos- 
ter-sister, proposes  to  the  demon  to  take 
his  place,  and  putting  herself  under  the 
protection  of  her  patroness,  defies  Babylas, 
who  returns  to  his  master  empty-handed. 
An  opera  of  the  same  title,  music  by  Bou- 
bee,  was  given  at  the  Societa  Filarmonica 
de'  Nobili,  Naples,  Feb.  17,  1880. 

DIABLE  AU  jMOULIN,  LE  (The  Devil 
at  the  Mill),  opera-comique  in  one  act,  text 
by  Cormou  and  Michel  Carre,  music  by  Ge- 
vaert,  represented  at  the  Opera  Comique, 
Paris,  May  13,  1859.  A  choleric  miller, 
Antoine,  who  abandons  himself  to  fits  of 
anger  on  the  least  provocation,  is  cured  of 
his  folly  by  Marthe,  who,  feigning  to  admire 
him,  imitates  all  his  acts  with  usury. 

DIADESTfi,  LE,  opera-eomique  in  two 
acts,  text  by  Priot  and  Saint-Hilaire,  music 


DIAMANTI 


by  Jules  Go Jefroid,  represented  at  tlic  Opi'ra 
Comique,  Paris,  Sept.  7,  1836.  The  plot 
tams  on  an  Arabic  game  in  which  two 
players,  male  and  female,  do  not  receive 
anything  from  each  other's  hand  within  a 
given  time  without  saying  "  diadeste,"  on 
penalty  of  a  forfeit.  Diadeste,  Italian  opera 
buffa,  text  by  Fitzball,  music  by  Balfe,  was 
produced  at  Drury  Lane,  London,  May  17, 
1838.— Kenney,  Memoirs,  132. 

DIAMANTI,  PAOLO,  born  in  the  Eo- 
magna,  about  1805.  Buffo  singer  and  com- 
poser ;  member  of  the  Teatro  Commuuale, 
Bologna,  in  1838,  where  he  brought  out 
two  operas  :  La  distruzione  de'  Masuadieri, 
and  La  Turca  fedele.— Ft'tis  ;  Mendel. 

DIAMANTS  DE  LA  COURONNE,  LES 
(The  Crown  Diamonds),  text  by  Scribe  and 
Saint-Georges,  music  by  Auber,  represented 
at  the  Opera  Comique,  Paris,  IMarch  G, 
1841.  Scene  in  Portugal,  time  1777.  The 
young  queen  of  Portugal,  having  pledged 
the  crown  diamonds  for  the  national  debt, 
seeks  to  deceive  her  people  by  having  false 
stones  made  to  take  their  place.  She  visits 
in  disguise  the  cavern  where  bandits,  led 
by  EeboUedo,  carry  on  the  manufacture  of 
false  money  and  false  jewels,  and  while 
masquerading  there  as  Catarina  meets  Dom 
Henrique  de  Sandoval,  who  has  been  capt- 
ured by  the  gang  while  on  his  way  to  sign 
a  marriage  contract  with  his  cousin  Diana, 
daughter  of  the  Conde  de  Campo  INIayor, 
Minister  of  Police  at  Coimbra.  Dom  Henri- 
que is  fascinated  by  Catarina  and  makes 
love  to  her  notwithstanding  his  relations  to 
Diana,  who  in  turn  ^jrefers  Dom  Sebastien 
to  her  aflSanced.  Catarina,  after  mystifying 
Dom  Henrique  in  her  assumed  characters, 
at  last  appears  in  her  role  of  queen  and 
announces  that  she  has  chosen  him  for  her 
husband,  and  Diana  is  made  happy  with 
Dom  Sebastien.  The  principal  part  in  the 
original  representation  was  tilled  by  jNIme 
Anna  Thillou,  for  whom  Auber  expressly 
wrote  the  opera.  Notwithstanding  its  im- 
probable libretto,  Auber's  sparkling  and 
Kraceful   music  has  made    it   one    of   the 


most  successful  operas  of  its  class,  both  in 
its  French  and  its  English  form.  It  was 
first  performed  in  London,  as  Crown  Dia- 


monds, at  the  Princess's  Theatre,  May  2, 
1844,  with  Mme  Thillon  in  the  principal 
part ;  and  it  had  a  still  greater  success  in 
1854,  when  it  was  produced  at  Drury  Lane 
by  the  Pyne-Harrison  troupe,  and  had  a 
run  of  a  hundred  nights.  It  was  first  given 
in  New  York  at  Niblo's  Garden,  1850,  also 
with  Mme  Anna  Thillon  in  the  chief  role. 

DIANA,  German  opera,  text  by  Konig, 
music  by  Keiser,  represented  at  Hamburg, 
1712  (given  as  Cupido,  Hamburg,  1724)  ; 
Diane,  opera  ballet,  music  by  Struck,  rep- 
resented at  Versailles,  about  1714  ;  Diane, 
divertissement,  music  by  Jacques  Aubert 
and  de  Bourgeois,  Paris,  1721  ;  operette 
bouffe,  music  by  Millocker,  Vienna,  Jan.  2, 
18G7.  Diana  amante,  Italian  opera,  text  by 
Orlandi,  music  by  Giuseppe  Antonio  Ber- 
nabei,  Munich,  1GS8  ;  music  by  Leo,  Na- 
ples, 1717  ;  Diana  ed  Endimione,  Italian 
opera,  music  by  Scarlatti,  Italy,  about  1675  ; 
music  by  Ignazio  Fiorillo,  Cassel,  1763  ;  dra- 
matic cantata,  Pescetti,  London,  1739.  Di- 
ane et  Endymion,  music  by  Anne  Danican- 
Philidor,  Paris,  1G98  ;  opera  in  three  acts, 


427 


DIANA 


text  by  Liroux,  music  by  Picciuni,  Acadomie 
Royale  de  Musique,  Paris,  Sept.  7,  1784  ; 
opera  in  two  acts,  music  by  Jean  Baptiste 
Eey,  Paris,  1791.  Las  amours  de  Diane  et 
d'Endymion,  text  by  Guicliard,  music  by 
Sablieres,  Versailles,  1671.  Diane  et  I'A- 
mour,  opera-comique,  represented  at  the 
French  Court,  1730.  Diana  ed  Ainore, 
Italian  opera,  music  by  Georg  Maun,  Vi- 
enna, about  1745.  Diana  placata,  music  by 
Ferrandini,  Munich,  1753  ;  opera,  text  by 
Pariati,  music  by  Fux,  Vienna,  1717.  Di- 
ana veudicata,  Italian  opera,  text  by  Pas- 
quini,  by  Georg  Karl  Reutter,  Vienna,  1736. 
See  also  Endimione. 

DIAl^A  DI  CHAVEPiNI,  Italian  opera, 
music  by  Sangiorgi,  represented  at  the 
Argentina  Theatre,  Rome,  December,  1875. 

DIANA  VON  SOLANGE,  opera,  music 
by  Duke  Ernest  U.,  of  Saxe-Coburg-Gotha, 
represented  first  in  Coburg,  1858  ;  and  at 
the  Stadttheater,  Nuremberg,  Dec.  25,  1877. 

DIANORA,  opera-comique  in  one  act, 
text  by  Chantepie,  music  by  Samuel  Rous- 
seau, represented  at  the  Opera  Comique, 
Paris,  Dec.  22,  1879.  Fantino,  the  herds- 
man, imable  to  induce  Dianora  to  return 
his  love,  feigns  to  poison  himself.  The 
belle,  duped  by  his  stratagem,  yields  to  this 
evidence  of  amourous  despair.  This  opera 
was  a  public  failure,  notwithstanding  that 
it  was  crowned  at  the  Concours  Crescent. 

DI.VS,  GABRIEL,  Portuguese  musician 
of  the  17th  century.  Very  little  is  known 
of  him  beyond  that  he  was  first  singer  in 
the  chapel  of  Philip  IV.  at  Madrid,  and 
then  maestro  de  capilla  of  the  convent  of 
the  Fi'anciseanas  descalzas  of  that  city. 
The  catalogue  of  the  musical  Library  of 
Juan  IV.  records  a  great  deal  of  relig- 
ious music  by  Dias,  497  vilhancicos  being 
attributed  to  him,  besides  masses,  motets, 
etc. — Fuertes,  Historia  de  la  musica  espa- 
gnola  ;  Fetis,  Supplement,  i.  268  ;  Mendel, 
Ergiinz.,  85. 

DIAZ  DE  LA  PENA,  EUGENE  EiMILE, 
born  in  Paris,  Feb.  27,  1837,  still  living, 
1888.     Son  of  Narcisse  Virgile  de  la  Pen  a, 


the  jjainter  ;  jjupil  from  1852  at  the  Con- 
servatoire, where  he  studied  harmony  un- 
der Eeber,  and  ob- 
tained the  first  ac- 
cessit  in  1856  and  the 
second  prize  in  1858  ; 
and  pupil  of  Halevy 
iu  composition.  In 
1865  he  produced  at 
the  Theatre  Lyrique 
an  opera-comique  en- 
titled Le  roi  Can- 
daule,  and  in  1867  he  won  the  government 
prize  for  the  music  to  La  coupe  du  roi  de 
Thule,  which  was  given  at  the  Opera  iu 
1S73.  He  has  since  published  songs,  and 
has  given  selections  from  La  coupe  du  roi 
de  Thule  at  the  Concerts  Danbe  (1875). 
— Fetis,  Supplement,  i.  269  ;  Larousse. 

DIBDIN,  CHARLES,  born  at  Dibdiu, 
near  Southampton,  March  15,  1745,  died  in 
London,  July  25, 1814.  Dramatic  composer, 
and  poet,  pujnl  of  Kent  and  of  Fussel ,  but 
chiefly  self-taught,  studying  the  works  of 
Corelli  and  the  didactic  writings  of  Ra- 
meau.  At  the  age  of  fifteen  lie  went  to 
London,  where  he  soon  obtained  an  en- 
gagement at  Covent  Garden  Theatre  as  a 
singing  actor,  began  to  write  for  the  stage, 
and  after  an  engagement  at  Birmingham 
(1763-65),  returned  to  London,  and  in 
1768  transferred  his  services  from  Covent 
Garden  to  Drury  Lane.  Owing  to  difter- 
euces  between  him  and  Garrick,  he  left  his 
position,  visited  France  in  1776,  and  on  his 
return  was  engaged  as  composer  for  Covent 
Garden,  but  held  the  appointment  for  a 
few  seasons  only,  and  having  projected  and 
failed  in  various  theatrical  enterpirises, 
started  on  a  musical  tour  in  1787  to  raise 
funds  for  a  meditated  visit  to  India,  for 
which  he  sailed  in  1788  ;  the  vessel  being 
driven  to  shelter  at  Torbay,  he  abandoned 
his  trip  and  returned  to  London,  where  he 
produced  those  successful  table  entertain- 
ments, which  he  originated,  and  in  which 
he  appeared  as  author,  composer,  narrator, 
singer,    and    accompanist,    from    1789    to 


428 


DIBDIN 


1805,  when  be  retired  from  public  bfe.  lu 
1802  tbe  government  granted  bini  a  pen- 
sion, but  tbis  be- 
ing witlidrawn  on 
a  cliange  of  uiiuis- 
trj',  be  ojjened  a 
music  sbop  in  tbe 
Strand  as  a  means 
of  subsistence  ; 
tbe  specidatiou 
failed,  and  a  sub- 
scription for  bis 
relief  was  raised 
in  1810,  wbicb  secured  an  annuity  to  bim- 
self,  bis  wife  and  daugbter  successively. 
His  pension  was  also  restored  to  bini. 
"Works :  Tbe  Sbepberd's  Artifice,  1703  ; 
Love  in  tbe  City,  1707  ;  Damon  and  Pbil- 
lida,  Lionel  and  Clarissa,  Tbe  Padlock, 
1708  ;  Tbe  Maid  tbe  Mistress,  Tbe  Re- 
cruiting Sergeant,  Tbe  Ejabesian  Matron, 
Tbe  Jubilee,  Queen  Mab,  The  Captive, 
1769;  Pigmy  Revels,  1770;  Tbe  Wed- 
ding Ring,  Tbe  Listitution  of  tbe  Garter, 
1771  ;  Tbe  Ladle,  Tbe  Mischance,  Tbe 
Brickdust  Man,  Tbe  Widow  of  Abingdon, 
The  Palace  of  Mirth,  1772  ;  A  Christmas 
Tale,  Tbe  Trip  to  Portsmouth,  Tbe  De- 
serter, The  Grenadier,  1773  ;  The  W^ater- 
man,  The  Cobbler,  1774  ;  The  Quaker,  The 
two  Misers,  1775 ;  Tbe  Seraglio,  The 
Blackamoor,  Tbe  Metamorphoses,  The 
Razor  Grinder,  Yo,  Yea,  or  the  friendly 
Tars,  The  old  Woman  of  Eighty,  Tbe  mail 
Doctor,  She  is  mad  for  a  Husband,  England 
against  Italy,  The  Fortune  Hunter,  All  is 
not  Gold  that  glitters,  1770  ;  Poor  Vulcan, 
Rose  and  CoUin,  Tbe  Wives  revenged,  An- 
nette and  Lubiu,  The  Milkmaid,  1778; 
Plymouth  in  an  Uproar,  Tbe  Chelsea  Pen- 
sioner, The  Mirror,  Tlie  Touchstone,  1779  ; 
The  Shepherdess  of  tbe  Alps,  Harlequin 
Freemason,  Tbe  Islanders,  1780 ;  Jupiter 
and  Alcmena,  1781  ;  None  so  blind  as 
those  who  won't  see,  1782  ;  The  Barrier  of 
Parnassus,  The  Graces,  Tbe  Saloon,  Man- 
darina,  Tbe  Land  of  Simplicity,  Tbe  Pas- 
sions, Tbe  Statue,  Clump  and  Cudden,  Tbe 


benevolent  Tar,  Tbe  Regions  of  Accom- 
plishment, Tbe  Lancashire  Witches,  1783  ; 
The  Cestus,  Pandora,  The  long  Odds,  Har- 
lequin tbe  Phantom  of  the  Day,  1784 ;  Lib- 
erty Hall,  1785  ;  Harvest  Home,  1787  ;  A 
loyal  ESusion,  1797 ;  Hannah  Hewett, 
1798.  Monodramas:  The  Whim  of  tbe 
Moment,  the  Oddities,  1789  ;  Tbe  Wags, 
1790  ;  Private  Theatricals,  1791  ;  The 
Quizzes,  1792  ;  Castles  in  the  Air,  1793  ; 
Great  News,  1794;  Will  of  the  Wisp, 
Christmas  Gambols,  1795  ;  The  general 
Election,  1790 ;  The  Sphinx,  Valentine's 
Day,  1797  ;  King  and  Queen,  1798  ;  A  Tour 
to  tbe  Land's  End,  Tom  AVilkins,  1799; 
The  Cake  House,  1800  ;  A  Frisk,  1801  ; 
Most  Votes,  1802  ;  New  Year's  Gifts,  Bro- 
ken Gold,  Britons,  strike  home,  Heads  and 
Tails,  The  Frolic,  Datchet  Mead,  The  pro- 
fessional Volunteers,  Rent  Da}-,  Commo- 
dore Pennant,  1802-05.  His  sons,  Charles, 
Jr.  (1770-1831),  and  Thomas  (1771-1841) 
were  dramatists  and  song  writers.  His 
granddaughter,  Mrs.  Tonna,  was  a  harpist. 
— Grove  ;  Reminiscences  of  Thomas  Dib- 
din  (2  vols.,  London,  1827)  ;  Fetis. 

DIBDIN,  HENRY  EDWARD,  born  in 
London,  Sept.  8,  1813,  died  in  Edinburgh, 
May  G,  18GG.  The  youngest  son  of  Charles 
Dibdin  tbe  younger,  he  became  a  jjroticieut 
on  tbe  harp,  which  he  studied  under  bis 
sister,  Mrs.  Tonna,  and  Bochsa,  and  on  tbe 
organ  and  the  violin.  In  1833  be  removed 
to  Edinburgh,  where  he  established  him- 
self as  a  teacher,  and  became  honorary 
organist  of  Trinity  Chapel.  He  was  the 
author  of  a  collection  of  chants  and  jDsalm 
and  hymn  tunes  (1843),  and  of  some  music 
for  tbe  organ  and  tbe  pianoforte,  but  he  is 
best  known  as  the  compiler  of  "  Tbe  Stand- 
ard Psalm  Tune  Book"  (London,  1851),  the 
largest  and  most  authentic  collection  of 
psalm  tunes  ever  published. — Grove. 

DICHTERLIEBE,  sixteen  songs  from 
Heine's  Biich  der  Lieder,  by  Robert  Schu- 
mann, op.  48,  dedicated  to  Madame  Schrii- 
der-Devrient,  composed  in  1840,  published 
in  1844.     Tbe  songs  in  tbis  collection,  from 


DICHTER 


their  melodic  constructiou,  are  the  first 
23erfect  examples  of  the  style  of  the  roman- 
tic school.  Every  cue  of  them  requires  a 
careful  declamation,  and  thej'  are  worked 
out,  not  in  the  recitative  form  usual  vpith 
Schubert,  but  into  a  thoroughly  concise, 
strophic  verse-structure.  The  composer 
enters  so  completely  into  the  mind  of  the 
poet,  so  absolute  is  the  assimilation,  and  so 
well  is  it  sustained,  that  it  is  sometimes 
imj)ossible  to  rid  ourselves  of  the  impres- 
sion that  the  songs  are  the  work  of  one 
man.  Schumann's  songs  are  in  many 
moods,  but  there  is  not  one  of  these  that 
is  unrepresented  in  the  Dichterliebe. 
— Maitland,  65  ;  Reissmann,  82. 

DICHTER  UND  BAUER  (Poet  and  Peas- 
ant), overture  by  Franz  Suppe.  This,  the 
composer's  most  popular  orchestral  work, 
has  been  arranged  for  fifty-nine  different 
combinations  of  instruments,  all  published 
by  Aibl,  Munich. 

D'ICI  VOYEZ  CE  BEAU  DOMAINE. 
See  La  Dame  blanche. 

DICK,  CHARLES  GEORGE  COTS- 
FORD,  born  in  London,  Sept.  1,  1846,  still 
living,  1888.  Studied  at  Worcester  College, 
Oxford,  1865-69  ;  obliged  from  ill-health 
to  give  up  law,  and  devoted  himself  to  mu- 
sic. Works  :  Our  Doll's  House,  ojseretta, 
1876  ;  Our  new  Doll's  House,  do.,  1877  ; 
Back  from  India,  do.,  1879  ;  Doctor  D., 
comic  opera,  1885  ;  Songs  and  pianoforte 
music. 

DIDON,  French  opera  in  three  acts,  text 
by  Marmoutel,  music  by  Piccinni,  rep- 
resented at  the  Academie  Royale  de  Mu- 
sique,  Paris,  Dec.  1,  1783.  Subject  from 
the  fourth  book  of  the  "J3neid,"  and  the 
tragedy  of  "  Didou  "  by  Lefranc  de  Pom- 
pignan.  The  music  made  so  profound  an 
impression  on  the  Court  that  Louis  XVI. 
attended  three  successive  representations. 
The  melodies  are  full  of  grace  and  tender- 
ness and  the  accompaniments  are  rich  in 
harmony.  The  role  of  Didon,  which  is  ad- 
mirably treated,  was  filled  by  Madame  de 
Saint-Huberty  with  such  success  that  Pic- 


cinni, who  had  written  some  airs  expressly 
for  her  voice,  said  that  without  her  his  oj^era 
would  be  without  Didon.  Three  j-ears  after- 
wards, when  Madame  de  Saiut-Huberty  was 
singing  it  at  Strasburg,  she  received  from 
Napoleon  Bouajjarte,  then  a  young  oflScer  of 
artillery,  these  ingenious  verses  . 

"  Komains,  qui  vous  vautez  d'uue  illustre  origiue, 
Voyez  d'oii  depeudait  votre  empire  naissaut ; 
Didon  n'eut  pas  de  cliaine  assez  puissant 
Pour  arreter  la  fuite  oh.  son  aniant  s'obstine  ; 
Mais  si  I'autre  Didon,  ornement  de  ces  lieux, 

EOt  ete  reine  de  Carthage, 
II  eftt,  pour  la  servir,  abandoune  ses  dieux, 
Et  votre  beau  pays  serait  encore  sauvage. " 

She  afterward  became  the  Comtesse  d'En- 
traigues,  and  was  murdered,  together  with 
her  husband,  by  a  servant,  at  Barnes,  near 
London,  July  22,  1812. — Clement  and  La- 
rousse,  211 ;  Edwards,  Prima  Donna,  ii.  183. 
DIDONE  ABBANDONATA  (Dido  For- 
saken), Italian  ojsera  in  three  acts,  text  by 
Metastasio,  first  set  to  music  by  Domenico 
Sarri  and  represented  in  Naples,  during  the 
Carnival,  1724.  Scene  in  Carthage.  Char- 
acters represented  :  Didone,  Queen  of  Car- 
thage, in  love  with  Euea ;  Jarba,  King  of 
the  Moors,  under  the  name  of  Arbace  ;  Se- 
lene, sister  of  Didone  and  secretly  in  love 
with  Eoea ;  Ai-aspe,  confidant  of  Jarba  and 
lover  of  Selene  ;  Osmida,  confidant  of  Didone. 
In  this  tragedy,  which  excited  universal  en- 
thusiasm in  its  time,  and  held  the  Italian 
stage  for  a  century,  the  poet  has  closely 
followed  the  narrative  of  Virgil  in  the 
"iEueid."  The  text  has  been  set  to  music 
also  by  Scarlatti,  Rome,  1724  ;  Albinoni, 
Rome,  1725  ;  Vinci,  Rome,  1730  ;  Schiassi, 
Bologna,  1735  ;  Duni,  Italy,  about  1740  ; 
Poipora,  Italy,  about  1740 ;  Beniaseoni, 
Rome,  1741,  Munich,  1756  ;  Hasse,  Dres- 
den, 1743 ;  Jommelli,  Rome,  1746,  Stutt- 
gart, 1763  ;  Scalabrini,  Dresden,  1747  ; 
Manna,  Venice,  1751  ;  Perez,  Genoa,  1751  ; 
Bonne,  Vienna,  1752  ;  Ciampi,  London, 
1754  ;  Bernasconi,  Mannheim,  1756  ;  Tra- 
etta,  Parma,  1764  ;  Schwanberg,  Brunswick, 
1765 ;   Zanetti,    Leghorn,    1766 ;    Galuppi, 


DIE 


St.  Petersburg,  17GG  ;  Srirti,  Venice,  17G7  ; 
Piccinui,  Naples,  about  17G7  ;  Majo,  Naples, 
1769  ;  Mortellari,  Naples,  1771 ;  lusanguine, 
Naples,   1772;   Calla,   Turin,   1773;   Moiu- 
belli,   Crescentino,   1775  ;  Scbirer,   Najjles, 
1776  ;  Scbuster,   Naples,   1776,  and   177",)  ; 
Ottani,  Forli,  about  1780  ;  Piticcliio,  Bruns- 
wick, 1780  ;  Antlreozzi,  St.  Petersburg,  1784  ; 
.infossi,   Naples,   178o  ;  Guglielmi,  Venice, 
1785 ;   Gazzaniga,  Venice,  1787  ;   Federici, 
London,    1794  ;    Paisiello,    Naples,    1795 ; 
Kozelucb,  Vienna,  about  1795;  Paer,  Par- 
is, 1810  ;  Eossiui  (dramatic  cantata),  1811 ; 
Mercadante,  Turin,  1823  ;  Keissiger,  Dres- 
den, 1823.     The   subject  had  been  treated 
before    Metastasio    in    an    Italian     opera, 
music   by  Cavalli,   Venice,    1641  ;   and   by 
Mattioli,   Bologna,   1656.      The    Queen    of 
Carthage  is  the  subject  also  of  the  follow- 
ing :  Didon,  French   lyric   tragedy  in  live 
acts,  with  prologue,  text  by  Mme  Gillot  de 
Sainctonge,    music    by    Desmarest,    repre- 
sented at  the  Opera,  Paris,  June  5,  1693  ; 
Dido,  German  opera,  text  by  Hinsch,  music 
by  Graupner,  Hamburg,  1797  ;  grand  op- 
era, text  by  Rellstab,  music  by  Bernlmrd 
Klein,    Berlin,    about    1820 ;    by    Joseph 
Haydn,     Marionetteu    Theater,    Esterhazy, 
1778 ;   by   Lampert,    Gotha,    1845.     Dido, 
English  drama,  music  by  James  Hook,  Lou- 
don,   1771 ;  English   opera   iu   three   acts, 
music  by   Stephen   Storace,  Drury   Lane, 
London,  1792.     Dido  and  Jilneas,  English 
opera  in  three  acts,  text  by  Nahum  Tate, 
music  by   Henry   Purcell,   Loudon,   1675 ; 
masque,  music  by  Thomas  Augustine  Arne, 
London,   1734  ;  Swedish   opera,   music   by 
Kraus,    Stockholm,    1792.      The   Death   of 
Dido,   English   opera,   music   by   Pepusch, 
London,  1716  ;  La  mort  de  Didon,  French 
ballet,  music  by  Saint- Amans,  Paris,  1776. 

DIE  FRIST  1ST  UM.  See  Der  Flie- 
fjende  Hollander. 

DIE  LIEBE  ZIEHT  ^HT  SANFTEN 
SCHEITTEN,  tenor  aria  in  B  minor,  with 
accompaniment  of  oboe  d'  amore,  and  cou- 
tinuo,  in  Johann  Sebastian  Bach's  cantata 
for  Dominica  1  Adv.  Chi-.,  Schwingt  freudig 


eucli  empor  ;  published  separately,  with  ad- 
ditional accompaniments  by  Robert  Franz, 
by  F.  Whistling,  Leipsic. 
"dIEMER,  LOLTS,  born  in  Paris,  Feb. 
14,  1843,  still  living,  1888.  Pianist,  and 
instrumental  and  vocal  composer,  jiupil  at 
the  Conservatoire  of  Emile  Durand  in  sol- 
fuge,  of  Marmontel  on  the  pianoforte  (first 
prize,  1856),  of  Bazin  in  harmony  (first  prize, 
1859),  of  Ambroise  Thomas  in  counterpoint 
and  fugue  (first  prize),  and  of  Benoist  ou 
the  organ  (second  prize).  He  won  great 
success  as  a  virtuoso  at  many  of  the  great 
public  concerts.  Works:  Sonata  for  pi- 
anoforte and  violin  ;  Trio  for  do.  and  vio- 
loncello ;  6  pensees  musicales ;  3  valses  de 
salon  ;  2  caprices  ;  Polonaise  de  concert  ; 
Ek'gie  ,  Berceiase  ;  Mazurka  de  salon ; 
Impromptu-valse  ;  Imj)romptu-caprice  ;  18 
transcriptions  for  pianoforte  of  sj'mphonic 
fragments  from  Haydn,  Mozart,  and  Beet- 
hoven ;  etc.  ;  Melodies  for  the  voice. — Fl'- 
tis,  Supplement,  i.  269. 

DIE  NACHT  1ST  VERGANGEN,  chorus 
in  Mendelssohn's  Lohrjemng. 

DIES   BILDNISS   IST  BEZAUBERND 
SCHON.     See  Zauhcr/lOfe. 
DIETRICH,     ALBERT 
born    at   Golk,    near 
Meissen,    Germany, 
Aug.  28,  1829,  still 
living,   1888.      Instru- 
mental and  vocal  com- 
poser, pupil  in  Dres- 
den  of    Julius   Otto, 
then  iu  Leipsic  (1847- 
51)  of  Rietz  and  Mos- 
cheles,  and  until  1854 

at  Diisseldorf  of  Robert  Schumann ;  after 
his  return  to  Leipsic  his  first  symphony 
was  played  there  at  a  Gewaudh;ius  concert. 
He  was  conductor  of  the  subscription  con- 
certs at  Bonn,  from  1855  until  1861,  when  he 
became  Hof-Kapellmeister  at  Oldenburg  ; 
has  directed  concerts  iu  Cologne,  Leipsic, 
and  other  German  cities.  Works :  Robin 
Hood,  opera,  given  at  Frankfort,  1879 ; 
Symphony  in  D,  op.  20 ;  Normannenfahrt, 


431 


DIETRICH 


overture ;  MorgenLymne,  for  chorus  and 
orchestra;  Kheiumorgeu,  do.;  Altcbrist- 
licher  Bittgesang,  do.  ;  Concerto  for  violin  ; 
do.  for  violoncello  ;  Trios  for  j)ianoforte 
and  strings  ;  Sonata  for  violoncello ;  Ro- 
mance for  horn  with  orchestra ;  Songs, 
duets,  choruses,  and  pianoforte  pieces. 
— Fetis,  Supplement,  i.  210  ;  Mendel ;  Mus. 
Wochenblatt,  vi.  20  ;   Riemanu. 

DIETRICH  (Dieterich),  SIXTUS  (Xistus 
Theodoricus),  born  at  Augsburg  between 
1490  and  1495,  died  at  St.  Gall,  Switzer- 
land, Oct.  21,  1548.  Contrapuntist,  spent 
bis  }-outh  at  Freiberg  in  the  Breisgau,  went 
in  1517  to  Strasburg,  and  in  1518  became 
schoolmaster  at  Constance  ;  thence  he  vis- 
ited Wittenberg  in  1540  to  attend  lectures, 
and  sutfering  from  gout,  was  taken  to  St. 
Gall  in  1548,  just  before  the  siege  of 
Constance  bj-  Charles  V.  Works  :  Magnifi- 
cat octo  tonorum,  liber  primus  (Strasburg, 
1535)  ;  Novum  ac  insigue  opus  musieum  3G 
Antiphonarum  (Wittenberg,  1541) ;  Novum 
opus  mus.  etc.  (ib.,  1545) ;  Psalms,  motets, 
and  other  pieces  in  various  German  collec- 
tions (Nuremberg,  Augsburg,  and  Witten- 
berg, 1538-45).— Allgem.  d.  Biogr.,  v.  159  ; 
Fetis  ;  Mendel ;  Riemann. 

DIETSCH,  PIERRE  LOUIS  PHILIPPE, 
born  at  Dijon,  March  17,  1808,  died  in 
Paris,  Feb.  20,  1865.  Church  composer, 
pupil  in  Paris  of  Choron,  and  at  the  Con- 
servatoire of  Reicha  in  counterpoint  and  of 
Chenie  on  the  double-bass.  In  1830  he  be- 
came maitre  de  chai^elle  of  Saint-Eustache, 
and  in  1842  of  the  Madeleine  ;  1831  he 
also  entered  the  orchestra  of  the  Theatre 
Italien  as  double-bass  player,  afterwards 
that  of  the  Opera,  where  he  subsequently 
became  chef  du  chant,  and  in  1860  chef 
d'orchestre,  but  retired  in  1863.  He  was 
professor  of  harmony  and  counterpoint  at 
Niedermeyer's  Ecole  de  musique  religieuse, 
from  its  foundation.  L.  of  Honour,  1856. 
Works :  Twenty-five  masses  ;  Motets  and 
hymns  ;  ]\Iagnificat  and  Te  Deum,  and 
many  other  religious  compositions.  He 
wrote  also  an  opera,  Le  vaisseau  fantome. 


given  at  the  Opera,  1842,  which  did  not  suc- 
ceed, and  several  didactic  works. — Fetis; 
do.,  Supplement,  i.  270. 

DIETTER  (Dieter),  CHRISTIAN  LUD- 
WIG,  born  at  Ludwigsburg,  Wiirtemberg, 
June  13,  1757,  died  at  Stuttgart  in  1822. 
Dramatic  composer  and  violinist,  pupil  at 
the  Karlschule  in  Stuttgart,  of  Seubert  and 
Celestini,  and  in  composition  of  Baroni, 
but  formed  himself  chiefly  by  studying  the 
works  of  Jommelli  and  other  great  Italian 
masters.  He  took  prizes  in  1776,  1777,  and 
1778,  and  became  first  violinist  in  the 
ducal  orchestra  in  1781.  Works — Comic 
operas,  given  at  Stuttgart:  Elisinde,  1794; 
Der  Schulze  im  Dorfe  ;  Der  L'rwisch  ;  Das 
Freischiessen  ;  Der  Rekrutenaushub  ;  Gliick- 
lich  zusammen  gelogeu  ;  Die  Dorfdej^utir- 
ten  ;  Der  Luftballon  ;  Belmont  und  Con- 
stanze ;  Des  Teufels  Lustschloss ;  Laura 
Rosetti,  grand  opera.  Concertos  for  violin, 
horn,  flute,  oboe,  and  bassoon ;  sonatas, 
duos,  etc.,  for  various  instruments. — Fetis  ; 
Mendel  ;  Riemann. 

DIEU  ET  LA  BAYADfiRE,  LE  (The  God 
and  the  Bayadere),  opera-ballet  in  two  acts, 
text  by  Scribe,  music  by  Auber,  represented 
at  the  Academic  Roj^ale  de  Musique,  Paris, 
Oct.  13,  1830.  This  pleasing  and  graceful 
work  still  holds  the  stage  in  France.  The 
libretto  is  derived  from  Goethe's  ballad, 
"  Der  Gott  vmd  die  Bajadere."  It  was  sung 
originally  by  Nourrit,  ]Mme  Damoreau,  and 
Levasseur,  with  Miles  Taglioni  and  Noblet 
as  dauseuses. — Hanslick,  Moderne  Oper, 
131. 

DIEUPART,  CHARLES,  born  in  France, 
latter  part  of  the  17th  century,  died  in  Lon- 
don about  1740.  Violinist  and  harpsichord 
player  ;  went  to  England  and  was  associated 
with  Clayton  and  Haym  in  the  introduction 
of  translations  of  Italian  ojoeras  in  London. 
After  their  discontinuance  he  devoted  him- 
self to  teaching  the  harpsichord.  Published 
Works  :  Six  suites  de  clavecin,  divisees  en 
Ouvertures,  Allemandes,  Courantes,  Sara- 
baudes,  Gavottes,  Minuets,  Rondeaux  et 
Gigues,    composees  et    mises   en   Concert 


432 


DIEU 


pour  un  Violon  ei  Flflte,  avec  une  Basse 
de  viol  et  im  Archilute  (London)  ;  G  ouver- 
tures  pour  clavecin  et  violon  avec  basse 
continue,  quoted  by  Walther  (Amsterdam). 
— Ft'tis  ;  Grove  ;  Mendel. 

DIEU,  QUE  MA  VOIX.     See  La  Juive. 

DIEUX  KIVAUX,  LE8  (The  Rival  Gods), 
ou  les  fetes  de  Cythere  (The  Fetes  of 
Venus),  ojiera-ballet  in  one  act,  text  by 
Briti'aut  and  Dieulafoy,  music  by  Berton, 
Ki-eutzer,  Persuis,  and  Spontini,  repre- 
sented at  tlie  Academic  Eoyale  de  Musique, 
Paris,  ou  the  occasion  of  the  marriage  of 
the  Due  de  Berry,  June  21,  1816. 

DIJKHUIJZEN,  D H ,  born  at 

Tweelo,  in  Gelderland,  April  28,  1821,  still 
living,  1888.  Organist,  pupil  at  Dessau  of 
F.  Schneider;  returned  and  became  or- 
ganist at  Elburg,  and  in  1845  organist  of 
the  great  organ  in  the  church  at  Nymwe- 
gen.  Published  works  :  Sonata  for  organ  ; 
Sonata  for  jsianoforte  and  violin  and  sev- 
eral Lider  ;  Twenty-third  Psalm  for  chorus 
and  orchestra  ;  Concert  overture,  given  at 
Utrecht  in  1853  ;  Symphony  in  C,  1856. 
— Fetis,  Supijlement,  i.  271;  Mendel,  Er- 
gilnz.,  86. 

DIKRAN  -  TSCHIHADJIAN,  Armenian 
composer,  author  of  the  music  to  Sherif- 
Agha,  Turkish  opera  in  three  acts,  text  by 
Alexander  Abbosetto,  represented  in  Con- 
stantinople, Dec.  8,  1872.— Fetis,  Supple- 
ment, i.  271  ;  Mendel,  Ergiinz.,  87. 

DILETTANTE  D'AVIGNON,  LE,  opOra- 
comique  in  one  act,  text  by  Hoffmann  and 
Leon  Hak'vy,  music  by  Francois  Halevy, 
first  repi-esented  in  Paris,  Nov.  7,  1829. 

DILLIGER  (Dillinger),  JOHANN,  born 
atEisfeld,  Bavaria,  in  1590,  died  at  Coburg, 
Aug.  28,  1647.  Church  compose!-,  was  at 
first  cantor  at  Wittenberg,  then  (1625)  at 
Coburg,  became  parson  at  Gellershausen  in 
1633,  and  afterwards  returned  to  Coburg 
as  deacon  at  the  ]\Ioritzkirche.  Works : 
Prodromi  triciniorum  sacrorum  (Nurem- 
berg, 1612) ;  Medulla  ex  psalnio,  etc. 
(Magdeburg,  1614) ;  Exercitatio  musica  I. 
etc.  (Wittenberg,  1624)  ;  Trauerlied  auf  den 


Tod  eines  Kindes  (Coburg,  1626)  ;  Disce 
mori,  etc.  (ib.,  1628)  ;  Gesprilch  Dr.  Lutheri 
und  eines  krankeu  Studiosi  (ib.,  1628) ;  Mu- 
sica votiva,  etc.  (ib.,  1629) ;  Musica  Chris- 
tiana cordialis  domestica  (ib.,  1630) ;  Two 
Supplements  to  the  same  (ib.,  1631) ;  Mu- 
sica Concertativa,  etc.  (ib.,  1632) ;  Musica 
Oratoria,  etc.  (ib.,  1633)  ;  Jeremias  poeni- 
tentiarius,  etc.  (ib.,  1640)  ;  Musica  Chris- 
tiana valedictoria  (ib.,  1642). — Fetis  ;  Men- 
del ;  Riemann. 

DILUVIO  UNIVERSALE,  IL  (The  Uni- 
versal Deluge),  Italian  op)era,  music  by 
Donizetti,  represented  at  Naj)les,  1830. 

DIMITRI,  French  opera  in  five  acts  and 
seven  tableaux,  text  by  Henri  de  Bornier 
and  Armand  Silvestre,  music  by  Victorin 
Joncieres,  rejiresented  at  the  Opera  Na- 
tional Lyrique,  Paris,  May  5,  1876.  The 
libretto  is  an  adaptation  of  Schiller's  unfin- 
ished tragedy  "  Demetrius,"  the  hero  of 
which  is  Dimitri  Samotzvanetz,  or  the 
Pseudo-Demetrius,  who,  assuming  the  name 
of  the  youngest  son  of  Ivan  the  Terrible, 
overthrew  the  Czar  Boris  and  was  crowned 
Czar  in  Moscow  in  1605.  He  is  the  hero 
also  of  the  Czech  opera  Dimitrije,  music 
by  Dvorak,  given  in  Prague,  1882  ;  and  of 
the  Latin  opera,  Demetrius  Moscovia?  solio 
restitutus,  music  by  Joliaun  Eberlin,  pro- 
duced at  Salzburg  in  1755. 

DimTKI  DONSKOI,  Russian  opera  in 
three  acts,  music  by  Anton  Rubinstein,  rep- 
resented in  St.  Petersburg  in  1852.  The 
hero  is  Dimitri  IV.  Ivanovieh,  called  Don- 
skoi  (of  the  Don)  from  his  defeat  of  the 
Mongols  on  that  river  in  1380. 

DBDILER,  ANTON,  born  at  Mann- 
heim, Oct.  14,  1753,  died  in  Munich  after 
1815.  Dramatic  composer,  pupil  of  Josef 
Zivvina,  and  of  the  Abbe  Vogler  ;  at  the  age 
of  eleven  he  entered  the  court  orchestra  as 
hoi-nist,  and  in  1778  went  to  Munich,  where 
he  studied  the  double-bass,  and  became  a 
famous  performer  on  that  instrument. 
Works  —  Operas  :  Der  Guekkasten,  Mu- 
nich, 1794  ;  Die  Schatzgriiber,  at  Schloss 
Sufeld,    near    Munich  ;     Die    Zobeljager. 


DINOEAII 


Ballets  :  Der  erste  Tod  ;  Der  erste  Scbilfer  ; 
Mede;i ;  Die  Grazieu  ;  Ritter  Aiuadis ;  etc. 
He  comjjosed  the  music  of  oue  hundred 
and  eighty-five  ballets.  Symphonies,  quar- 
tets, concertos  ;  Compositions  for  the  guitar. 
— Fc-tis  ;  Mendel. 

DINORAH.     See  Pardon  de  Ploermel. 
DI  PESCATORE  IGNOBILE.     See  Lu- 
crezia  Borgia. 

DI  PROVENZA  IL  MAR.     See  Tmuiala. 
DI  QUELL  A  PIRA.     See  Tromtore. 
DI    SPERANZE    E    GLORIE   PIENA. 
See  Ballo  in  Maschera. 

DISSIPONS  CE  SOMBRE  NUAGE. 
See  Ariodant. 

DISSOLUTO  PUNITO,  IL.  See  Don 
Giovanni. 

DISTRATTO,  IL,  symphony  in  C,  by  Jo- 
seph Haydn,  originally  the  overture  to  Der 
Zerstreute,  a  Lustspiel  by  Regnard,  repre- 
sented in  Vienna,  Jan.  6,  1776.  Haydn 
wrote  also  the  music  of  the  second  act  of 
tlie  opera. 

DI  TANTI  PALPITI.     See  Tancredi. 
DI  TANTI  REGI.     See  Semiramide. 
DITE  ALL  A  GIOVINE.     See  Trcwiata. 
DITHYRAMBE,  for  male  voices,  chorus 
and  orchestra,  by  Julius  Rietz,  to  Schiller's 
poem  of  the  same  title  ;  first  given  at  the 
Schiller-Festival  at  the  theatre  in  Leipsic, 
Nov.  11,  1816.     The  work  has  long  been  a 
favourite  with  male  singing  societies  in  Ger- 
many. 

DITTERSDORF,  KARLDITTERS  VON, 
born  in  Vienna,  Nov. 
2,  1739,  died  at  Castle 
Rothlhotta,  near  Neu- 
haus,  Bohemia,  Oct. 
31,  1799.  Dramatic 
composer,  and  virtu- 
oso on  the  violin,  first 
instructed  by  Konig 
and  Ziigler.  When 
scarcely  ten  years 
old,  he  attracted  by 
Lis  playing  the  attention  of  Prince  Joseph 
of  Hildburghausen,  who  took  him  into  his 
piivate  orchestra  and  gave  him  a  thorough 


j  education  ;  his  musical  teachers  there  were 
Traui  on  the  violin,  and  Bono  in  composi- 
tion. The  Prince  having  dismissed  his 
band  in  1759,  he  procured  for  Ditters  a 
position  at  the  court-theatre  in  Vienna, 
whence  the  latter  went  with  Gluck  to  Italj', 
in  1761,  and  afterwards  to  Frankfort  to 
attend  the  services  at  the  coronation  of 
Joseph  II.  At  Bologna  he  had  won  fame 
as  a  violinist,  and  after  his  return  to  Vienna 
sustained  it  against  that  of  the  celebrated 
Lolli.  About  1764  he  became  Kapellmeister 
to  the  Bishop  of  Gross- Wardein,  Hungary, 
and  after  a  short  stay  in  North  Italy,  upon 
the  dismissal  of  the  bishop's  orchestra  in 
1769,  he  entered  the  service  of  Count  Schaf- 
gotsch.  Prince-bishop  of  Breslau,  at  Jolian- 
nisberg,  Silesia,  where  he  established  a 
little  theatre,  and  won  for  his  orchestra 
the  rei^utation  of  the  best  in  the  province. 
In  1770  he  received  the  papal  order  of  the 
Golden  Spur,  and  in  1773  was  ennobled  by 
the  Emperor.  To  bring  out  some  ojseras 
and  oratorios  he  visited  Vienna  (1770,  1776, 
1786),  and  Berlin  (1789),  with  great  artistic 
and  material  success.  After  the  death  of 
his  j):^ti'on  in  179.5,  j^ensioned  by  his  suc- 
cessor with  a  23altry  sum,  he  lived  in  indi- 
gence and  poor  health  for  two  years,  when 
Baron  Stillt'ried  offered  him  and  his  family 
shelter  at  Castle  Rothlhotta.  He  was  a 
prolific  composer,  and  stands  foremost  in 
the  field  of  popular  jovial  humor  in  opera, 
a  true  national  tone-poet,  rarely  gifted,  and 
of  sound  education.  His  Doctor  vuid  Apo- 
theker  continues  to  hold  the  stage.  Works 
— Operas  :  Amore  in  musica,  given  atGross- 
Wardein,  1767  ;  Lo  sposo  burlato,  Johau- 
nisberg,  1775  ;  II  viaggiatore  amerieano, 
ib.  ;  La  contadina  fedele,  ib.,  1785  ;  Betrug 
dureh  Aberglauben,  Doctor  und  Apotheker, 
Die  Liebe  im  Narrenhaus,  II  Democrito 
corretto,  Vienna,  1786  ;  Orpheus  der  zweite, 
Hieronymns  Knicker,  ib.,  1787  ;  Das  rothe 
Killjpchen,  ib.,  1788  ;  Der  Schiffspatron,  oder 
der  neue  Gutsherr,  ib. ,  1789  ;  Hocus  Pocus, 
ib.,  1790  ;  Das  Gespenst  mit  der  Trommel, 
Oels,    Silesia,    1794 ;  Gott  Mars,  oder  der 


DITTMAR 


eiserne  JMaim,  Don  Quixote,  Die  Guelfeu, 
Der  Scbab  von  Schiras,  ib.  1795  ;  Ugolino, 
grand  opera  (the  only  one  he  wrote),  Die 
histigeu  Weiber  von  Windsor,  Der  schiJue 
Herbsttag,  ib.,  1790  ;  Der  Teruengewinust, 
Der  Madchenmarkt,  ib.,  1797  ;  Terno  secco, 
Bre.shiu,  1797  ;  L'ojDera  buffa,  Don  Coribaldi 
(1798)  ;  II  tribunate  di  Giove.  Oratorios  : 
Isacco,  tigura  delEedeutore,  Gross- Wardein, 
1767  ;  La  hberatrice  del  pojnilo  giudaico 
nella  Persia,  ossia  L'Esther,  Vienna,  1785  ; 
Giobbe,  ib.,  1786.  Great  Latin  Cantata, 
Gross- Wardein,  1765  ;  Concerto  grosso,  for 
eleven  instruments,  with  orchestra  ;  16  or- 
chestral symphonies  ou  Ovid's  Metamor- 
phoses (Vienna,  1785)  ;  35  symphonies  ;  0 
new  do.  ;  12  concertos  for  violin  ;  6  quartets 
for  stringed  instruments ;  12  divertissements 
for  two  violins,  and  violoncello  ;  Duos  for 
violin,  and  bass  ;  2  Nocturnes  for  two  horns 
and  violoncello  obligato  ;  Concertino  for 
two  oboes,  two  horns,  two  violins,  viola  and 
bass  ;  12  sonatas  for  four  hands,  for  piano- 
forte ;  72  preludes  for  do.,  etc.  He  wrote 
also  the  treatises  :  "  Brief  fiber  die  Grenzeu 
des  Komischen  und  Heroischen  in  der  Mu- 
sik  "  ;  "  Brief  fiber  die  Behandluug  italien- 
ischer   Texte  bei  der  Kompositiou "  ;    and 


Cct/^ 


y 


J-^tijejvd^f^\ 


his  autobiography  (Leipsic,  1801). — Allgem. 
d.  Biog.,  V.  262  ;  Allgem.  Mus.  Zeitg., 
Bernsdorf  ;  Fetis  ;  Mendel  ;  Schilliug  ; 
Wurzbach. 

DITTMAR,  MANTEY,  Baron  VON, 
born  in  Bavaria,  contemporary.  Dramatic 
composer,  pui^il  of  Peter  Winter,  whose 
style  he  imitated  ;  he  was  Hotkapellmeister 
to  the  Grandduke  of  Meckleuburg-Strelitz. 
His  religious  music  is  distinguished  for 
great  purity  of  style,  but  remains  in  man- 
uscript. Works  :  Die  beiden  Galeeren- 
sklaven,  opera,  given  in  Strelitz,  1830  ;  Over- 
ture to  the  drama   Ludwig   der   Baier  ;  6 


danses  populaires  de  Baviere,  for  pianoforte, 
op.  2  ;  Fantaisie  serieuse,  for  do.  ;  Fantaisie 
en  forme  de  variations  sur  le  theme  favori 
de  Himmel,  An  Alexis,  for  do.,  op.  0  ;  G 
valses  de  Kossiui,  op.  7  ;  Adagio  ed  allegro 
agitato  concertante,  for  ijianoforte,  violin, 
and  tiute,  op.  8  ;  Festival  march,  and  torch- 
light dance,  op.  10. — Fetis  ;  Mendel ;  Schil- 
ling. 

DIVA,  LA,  opcra-boufte  in  three  acts, 
text  by  Henri  Meillac  and  Ludovic  Halevy, 
music  by  Offenbach,  represented  at  the 
Bouffes  Parisieus,  Paris,  March  22,  1869. 

DIVINITES  DU  STYX.  See  Alcesle, 
Gluck. 

DIVITIS,  ANTONIUS  (Antoine  Le  Eiche), 
born  in  the  second  half  of  the  15th  century. 
Church  composer,  and  one  of  the  most 
eminent  French  contrapuntists  of  his  time  ; 
singer  in  the  chapel  of  Louis  XH.,  about 
1515.  Of  his  works  only  single  motets  and 
chansons  are  jsreserved  in  various  collec- 
tions (1514-1551),  besides  a  mass  for  four 
voices  (Gaude  Barbara)  in  MS.  in  the  library 
at  Cambrai,  and  a  Credo  for  six  voices,  and 
a  Salve  Kegina  for  five  voices  in  the  royal 
library  at  Munich. — Fetis. 

DIXON,  GEORGE,  born  in  Norwich,  Eng- 
land, in  1820,  still  living,  1888.  Organist,  pu- 
pil of  Dr.  Zechariah  Buck  ;  assistant  organ- 
ist of  Grantham  Cluirch,  183.5-45;  organist 
of  Retford  Church,  Notts,  1845-59,  of  Louth 
Church,  1859-65,  and  of  Grantham  Church, 
1865.  Mus.  Bac,  Oxford,  1852  ;  Mus.  Doc, 
ib.,  1858.  Works :  The  121st  Psalm,  can- 
tata ;  Pope's  Messiah,  do.  ;  Anthems  :  Open 
we  the  Gates  ;  Unto  Thee,  O  my  Strength  ; 
We  will  rejoice  ;  O  give  Thanks  ;  Te  Deum 
in  G  ;  Hymns,  Chants,  Kyries,  etc.  ;  Songs. 

DIZI,  FRANgOIS  JOSEPH,  born  at  Na- 
mur,  France,  Jan.  14,  1780,  died  in  Paris, 
November,  1847.  Harpist,  sou  and  pupil 
of  a  professor  of  the  violin.  He  went  to 
London,  where  Sebastian  Erard,  then  the 
most  celebrated  manufacturer  of  hai-ps  and 
pianofortes  in  England,  became  his  patron 
and  found  him  pupils.  He  lived  there 
thirty  years  as  virtuoso  and  composer,  and 


435 


DJAMILEH 


made  several  improvements  in  harp  mechan- 
ism. In  1830  he  went  to  Paris,  and  became 
a  member  of  the  firm  of  Pleyel,  manufact- 
urers of  harps,  but  iu  this  venture  he  was 
unsuccessful.  Works  :  Grande  sonate  (Lon- 
don) ;  Air  Saxon,  de  Cramer,  varic  (Paris)  ; 
Douze  exercices  ou  fautaisies  pom*  la  harjje 
a  deux  rangs  de  pt'dales,  premiere  et  deux- 
ieme  suites  (Paris)  ;  French  romances,  Eng- 
lish and  Italian  airs  with  variations  for  harp 
(Paris). — Fotis  ;  Biog.  nat.  de  Belg.,  vi.  84  ; 
Mendel,  Riemaun. 

DJAMILEH,  opera-comique  in  one  act, 
text  bj  Louis  Gallet,  music  by  Georges 
Bizet,  represented  at  the  Ojjera  Comique, 
Paris,  May  22,  1872.  The  subject  of  the 
libretto  is  derived  from  Alfred  de  Mussel's 
poem,  "Namouua."  Djamileh,  concubine 
or  slave  of  Haroun,  who  changes  his  mis- 
tress every  month,  conceives  for  her  master 
a  violent  passion,  which  he  does  not  return. 
She  persuades  the  slave  merchant  to  pre- 
sent her  anew  iu  disguise,  and  at  last  Ha- 
roun, touched  by  her  ardour  and  obstinacy, 
decides  to  love  her. 

DOBLHOF-DIER,  KARL  VON,  born  iu 
Vienna,  July  13,  1762,  died  there  iu  1836. 
He  studied  under  Albrechtsberger  and  Sa- 
lieri,  and  in  1810  retired  from  business  to 
devote  himself  to  music.  After  his  death  his 
manuscript  compositions  came  into  the 
possession  of  Kiesewetter,  who  bequeathed 
them  to  the  Imperial  Library  of  Vienna. 
Works :  Masses  ;  Choruses  ;  Hymns,  and 
other  church  music. — Fetis  ;  Meudel. 

DOBRZYNSKI,  IGNAC Y,  born  in  the  pro- 
vince of  Volhynia,  Russia,  in  1777  or  1778  ; 
died  in  Warsaw  in  1811.  He  was  first  violin, 
for  eighteen  years,  at  Romauof,  in  the  or- 
chestra of  the  Senator  Hiriski,  for  whom  he 
wrote  the  music  of  several  operas  and  bal- 
lets ;  professor  at  Winniya,  subsequently  at 
Krzemieniej  ;  settled  in  Warsaw,  where  his 
sou  held  a  musical  position.  He  was  re- 
nowned for  his  characteristic  Polonaises,  to 
which  he  gave  a  rhythm  and  a  finish  which 
made  them  strictly  national.  — Fi' tis ;  Sup- 
plement, i.  273  ;  Sowinski,  150. 


DOBRZYNSKI,  IGNACY  FELIX,  boru 
at  Romanof,  Volhynia,  Feb.  25,  1807,  died 
in  Warsaw,  Oct.  18,  1867.  Pianist,  son  and 
pujiil  of  Ignacy  Dobrzynski,  for  the  violin 
and  pianoforte,  and  pupil  of  Eisner  in  har- 
mony and  counterpoint.  He  became  the 
intimate  friend  of  Chopin,  also  Eisner's  pu- 
pil, and  his  music  partook  of  the  same  style, 
his  Piesni  Sielskie,  or  Melodies  villageoises, 
being  peculiarly  characteristic.  In  1815-16 
he  gave  concerts  in  Berlin,  Leipsic,  and 
other  cities  in  Germany,  playing  his  own 
music  ;  he  was  at  one  time  conductor  of  the 
opera  in  Warsaw.  Works  :  Symphony  in  C 
minor  (2d  prize,  Vienna  Concours,  1838) ; 
Three  quartets  for  two  violins,  viola  and 
bass  ;  two  quintets  for  two  violins,  viola, 
two  violoncellos,  op.  38,  40  ;  One  sextet  for 
two  violins,  viola,  two  violoncellos  and 
double-bass,  op.  39  ;  Trio  for  pianoforte, 
violin  and  violoncello,  oj).  17  ;  Sonata  for 
pianoforte  and  violiu ;  Les  larmes.  Noc- 
turne for  pianoforte  and  violin.  He  wrote 
also  an  opera,  Monbar,  the  overture  to 
which,  together  with  several  of  the  prin- 
cipal parts,  was  j)laj'ed  at  Leipsic  aud 
Dresden  in  1845  and  1846 ;  and  many 
mazurkas,  nocturnes,  and  songs  Avith  jiiauo- 
forte  accompaniment. — Fctis  ;  do.,  Supple- 
ment, i.  273  ;  Sowinski,  151 ;  Meudel ;  Rie- 
mann. 

DOCH  DER  HERR  VERGISST  DIE 
SEINEN  NICHT,  arioso  for  contralto  iu 
JNIeudelssohn's  Paulus,  Part  I. 

DOCHE,  JOSEPH  DENIS,  born  iu  Par- 
is, Aug.  22,  1766,  died  at  Soissons,  July 
20,  1825.  Dramatic  composer ;  chorister 
at  the  cathedral  of  Meaux  at  the  age  of 
eight,  he  learned  music  under  the  direction 
of  Guignet ;  maitre  de  chapelle  of  the  Cathe- 
dral of  Constance  at  the  age  of  nineteen,  re- 
maining there  until  the  Revolution,  when 
he  entered  the  orchestra  of  the  Vaudeville 
Theatre  (1794)  as  violinist,  and  subsequently 
as  violoncellist  and  double-bass  player.  He 
became  assistant-conductor  of  that  orchestra 
in  1810,  and  chef  d'orchestre  from  1815  to 
1823.     He  composed  a  number  of  new  airs 


436 


DOCH 


for  the  vaudevilles  played  at  that  theatre  ; 
the  best  kiiuwu  of  these  were :  Fanchou  la 
Vielleuse,  The  Romance  of  Santeuil,  that  of 
Geiitil  Bernard,  etc.  He  wrote  the  oijeras- 
comiques,  Les  trois  Derville  (1818),  refused 
at  the  Theatre  Feydeau  ;  Les  deux  seuti- 
uelles  (1803),  and  several  operettas  played 
at  minor  theatres,  among  which  was  Point 
de  bruit,  Theatre  de  la  Porte-Saiut-Martin, 
1804.  He  published  collections  containing 
his  popular  romances,  entitled :  Recueil 
contenant  quaraute  airs  et  romances,  avec 
accompaguemeut  de  guitare,  op.  4  ;  Trois 
recueils  de  romances ;  Rondeau  Italien ; 
Collection  de  romances  et  chansons  de  L. 
P.  Segur  I'aino  avec  des  airs  nouveaux  et 
accompagnement  de  piano. — Fetis ;  do,, 
Supplement,  i.  274  ;  Meudel. 

DOCH,  WEICHET,  IHR  TOLLEN,  bass 
aria  in  A  major,  with  accompaniment  of 
flute,  strings  complete,  and  continue,  in 
Johann  Sebastian  Bach's  cantata  for  Do- 
min.  16  post  Trinit.,  "  Liebster  Gott,  wann 
werd'  ich  sterben  ; "  published  separately, 
with  additional  accompaniments  by  Robert 
Franz,  by  F.  Whistling,  Leipsic,  1800. 

DOCTEUR  CRISPIN,  LE.  See  Criqmw 
e  la  Comare. 

DOCTEUR  MAGNUS,  LE,  opera  in  one 
act,  test  by  Cormon  and  Michel  Carre,  mu- 
sic by  Ernest  Boulauger,  represented  at  the 
Opera,  Paris,  March  9,  1864.  Dr.  Magnus 
is  a  zealous  preacher,  whose  nejihew  Daniel, 
a  young  German  student,  gets  him  into  no 
end  of  trouble  by  his  pranks. 

DOCTEUR  ]NURACLE,  LE,  operette  in 
one  act,  text  by  Leon  Battu  and  Ludovic 
Hali'vy,  music  l3y  Lecocq  and  Bizet,  repre- 
sented at  the  Bouffes  Parisiens,  April,  1857. 
Each  of  the  composers  wrote  a  score  to  the 
same  text  on  the  occasion  of  a  competition 
opened  by  Oft'enbach,  and  the  jury  awarded 
the  prize  to  them  equally.  The  two  scores 
were  played  successively. 

DOCTEUR  IVIIROBOLAN,  LE,  opera-co- 
mique  in  one  act,  text  by  Cormon  and  Tri- 
anon, music  by  Eugene  Gautier,  represent- 
ed at  the  Opera  Comique,  Paris,  Aug.  28, 


1860.  The  subject  is  from  "  Crispin  mede- 
cin,"  a  comedy  by  Hauteroche,  given  at  the 
Hotel  de  Bourgogne,  1673. 

DOCTEUR  OX,  LE,  opera-bouffe  in  three 
acts,  text  by  Philippe  Gille  and  Mortier, 
music  by  Offenbach,  represented  at  the  Ya- 
riL-tes,  Paris,  Jan.  26,  1877.  The  subject  is 
from  Jules  Verne's  story  of  the  same  title. 

DOCTEUR  PYRAMIDE,  LE,  opera-eo- 
mique  in  one  act,  text  by  Brand  and  Jala- 
bert,  music  by  Haring,  represented  at  Tou- 
louse, January,  1877. 

DOCTEUR  ROSE,  LE,  opera-bouffe  iu 
three  acts  and  four  tableaux,  text  by  Emile 
de  Najac,  music  by  Federico  Ricci,  repre- 
sented at  the  Boufl'es  Parisiens,   Feb.  10, 


Plot  original. 


1872.     Scene  in  Venice. 

DOCTEUR  SANGRADO,  LE,  opera-co- 
mique  in  one  act,  text  by  Anseaume,  music 
by  Duui  and  Laruette,  represented  at  the 
Opera  Comique,  Paris,  Feb.  13,  1758.  Sub- 
ject from  "  Gil  Bias." 

DOHLER,  THEODOR,  born  in  Na- 
ples, April  20,  1814, 
died  in  Rome,  Feb. 
21,  18.")6.  Pianist, 
pupil  of  Benedict, 
afterwards  in  Vienna 
of  Czerny  on  the 
pianoforte,  a  n  d  of 
Sechter  in  composi- 
tion ;  at  the  age  of 
seventeen  he  ob- 
tained a  position  as 
virtuoso  to  the  Duke 
of  Lucca,  whom  he  accompanied  on  several 
journeys,  and  in  1836  he  made  a  concert 
tour  through  Germany,  visited  Florence  and 
Bologna  in  1837,  Paris  in  1838,  London  and 
Holland  iu  1839,  obtaining  everywhere  a 
brilliant  success.  Having  returned  to  Italy, 
he  started  for  Holland  again  on  invitation, 
gave  concerts  at  Amsterdam,  Rotterdam, 
and  Utrecht,  then  at  Brussels,  and  after 
another  sojourn  at  Lucca  of  about  two 
years,  revisited  Germany,  whence  he  went 
to  Copenhagen  in  1843,  and  finally  to  Rus- 
i  sia,  where   he  stayed   two   years ;  iu   1846 


4»7 


DOLES 


married  the  Princess  Tscberemetefif,  aud  set- 
tled iu  Italy,  abandoning  music  as  a  pro- 
fession. Works  :  Concerto,  op.  7  ;  12  fan- 
taisies  on  difl'erent  operatic  themes  ;  10  noc- 
turnes ;  Themes  varies,  etudes,  caprices, 
rondos,  etc. — Fetis  ;  Mendel  ;  Eiemann. 

DOLES,  JOHAJ^N  FRIEDRICH,  born 
at  Steinbacli,  Meiningen,  April  21,  1715, 
died  at  Leipsic,  Feb.  8,  1797.  Church 
composer,  pupil  of  Bach,  and  in  1744-56 
cantor  at  Freiberg  ;  then  for  tliirty-three 
years  at  the  Thomasschule,  aud  musical 
director  at  the  two  principal  churches  in 
Leijjsic.  His  style  was  jjopular  and  utterly 
diflerent  from  that  of  his  master.  Works  : 
Neue  Lieder  von  Fuchs  (Leipsic,  1750)  ; 
Tlie  46th  Psalm  (ib.,  1758)  ;  Melodien  zu 
Gellert's  geistlichen  Oden  (ib.,  1762)  ;  Vier- 
stimmiges  Choralbuch  (ib.,  1785)  ;  Cantata 
on  Gellert's  Ich  komme  vor  dein  Auge- 
sicht,  for  4  voices,  and  orchestra  (ib.,  1790) ; 
Singbare  und  leichte  Choralvorspiele  1st — • 
3d  book  (ib.,  1795)  ;  do.  4th  book  (1796)  ; 
do.  5th  book  (1797).  Li  manuscript:  The 
Passion,  oratorio  ;  Passion-Music  according 
to  St.  Mark  ;  do.,  according  to  St.  Luke  ; 
Psalms  12,  16,  24,  33,  81,  84,  85,  100, 
111;  Two  masses  ;  Magnificat ;  Kyrie  aud 
Gloria  ;  Salvete  vos  ;  Motets.  His  son  aud 
pupil,  Joliann  Friedrich  (born  at  Freiberg, 
May  26,  1746,  died  at  Leipsic,  April  16, 
1796),  was  a  distinguished  amateur  pianist, 
and  bass  singer.  He  composed  a  concerto, 
several  sonatas  and  solos  for  pianoforte,  be- 
sides Langbeiu's  "  Poststationen  des  Le- 
bens." — Allgem.  d.  Biog.,  v.  312  ;  Fetis  ; 
Mendel ;  Schilling. 

DOLEZALEK,  JOHANN  EM.INUEL, 
born  at  Chotebor,  Bohemia,  died  iu  Vi- 
enna, July  6,  1858.  Pianist ;  attracted  at- 
tention iu  Prague  about  1814  by  his  play- 
ing, and  the  originality  of  his  Bohemian 
songs,  published  iu  1812.  He  then  settled 
in  Vienna,  where  he  rapidly  took  his  place 
as  one  of  the  favorite  teachers  of  singing 
and  the  pianoforte.  Works  :  12  eeossaises 
for  two  violins,  2  clarinets,  2  horns,  flute, 
two  bassoons,  and  bass  ;  9  variations  on  a 


theme  of  Sargines,  for  jsianoforte  ;  Varia- 
tions on  a  theme  from  the  ballet  Der  Fass- 
binder  ;  Several  collections  of  allemandes, 
ecossaises,  and  waltzes  for  pianoforte  ;  2 
Russian  marches,  for  do. — Fetis. 

DOLORI  DI  jMARIA  SEJIPRE  VER- 
GINE,  I,  ossia  la  Vergiue  addolorata,  ora- 
torio, by  Alessandro  Scarlatti. 

DOLOROSA,  Liedercyclus,  by  Adolph 
Jensen,  op.  30. 

DOMBROWSKI,  HENRI,  born  at  Zwini- 
acz,  Russia,  in  1838,  still  living,  1888.  Pi- 
anist, jjupil  of  Liszt.  After  finishing  his 
musical  education  he  visited  Russia,  Italy, 
Spain,  and  France  professionally,  and  finally 
settled  in  Paris.  Works  :  Le  26  Novembre  ; 
Chant  magyare  ;  Saltarella  ;  Les  contrastes  ; 
fitude  de  genre  ;  Romances  sans  paroles  ; 
Grande  Polonaise  ;  Polonaise  historique  ; 
JIarche  des  Tartares  ;  Impressions  de  voy- 
age ;  Conte  de  salon  ;  Soirees  de  Versailles, 
etc.  He  has  sometimes  published  under 
the  name  Ary  de  Bogota. — Fetis,  Supple- 
ment, i.  275. 

DOillNICETI,  CESARE,  born  at  De- 
senzano,  Italy,  July  12,  1821,  died  at  Sesto 
di  Monza,  June  20,  1888.  Dramatic  com- 
poser. Works — Operas  :  I  vegli  usi  di  cittii, 
Desenzano,  1841  ;  Due  mogli  in  una,  Milan, 
1853  ;  La  maschera,  text  by  Guidi,  Milan, 
March  2,  1854  ;  Morovico,  Milan,  Decem- 
ber, 1873  ;  II  lago  delle  fate,  text  by  Za- 
nardini,  Naples,  May  18,  1878  ;  L'  eredita- 
ria,  text  by  Zanardini,  Milan,  Feb.  19,  1881. 
— Riemann. 

DOmNO  AZUL,  EL  (The  Blue  Domino), 
Spanish  opera  in  three  acts,  music  by  Ar- 
rieta,  represented  in  Madrid,  1852. 

DOMINO  NERO,  IL  (The  Black  Domino), 
Italian  opera,  music  by  Rossi,  represented 
at  Milan,  1849.  The  libretto  is  an  adapta- 
tion of  the  French  Le  Domino  Noir. 

DOmNO  NOIR,  LE  (The  Black  Domino), 
ojjcra-comique  iu  three  acts,  text  by  Scribe, 
music  by  Auber,  first  represented  in  Paris, 
Dec.  2,"  1837.  The  libretto,  the  scene  of 
which  is  laid  at  a  masked  ball  in  Madrid, 
is  one  of  Scribe's  best,  and  the  composer's 


436 


DOMXICU 


musical  setting'  is  full  of  grace  and  melody. 
Among  the  best  of  its  uuuibers  are  the  two 
romances  :  "  Le  trouble  et  la  frayeur,"  and 
"  Amour,  vieus  fiuir  mon  supplice  "  ;  the 
couplets,  "  Une  fee,  un  bon  auge,"  and  "S'il 
est  sur  terre  ; "  the  airs  "  D'oti  venez-vous, 
ma  chore,"  and  "  Ah  !  quelle  unit !  "  and 
the  song  and  chorus,  "  Heureux  qui  ne 
respire."      In    the    original   rej)resentation 


Laufe  Damoreau   as  Angfele. 

the  part  of  Angele  was  sung  by  Mme  Laure 
Damoreau,  who  made  it  one  of  Ler  most 
successful  parts,  and  that  of  Horace  by  the 
celebrated  tenor,  Roger. — Larousse,  vi., 
lpC9  ;  Hanslick,  Mod.  Oper,  i:U. 

DOMNICH,  HEINEICH,  born  at  Wiirz- 
burg,  March  13,  1767,  died  iu  Paris,  June 
19,  1844.  Virtuoso  on  the  born,  pupil  of 
his  father,  who  was  also  an  eminent  liorn 
player  iu  the  service  of  the  bishop  of  Wiirz- 


burg.  In  his  twelfth  year  he  appeared  at 
court,  and  played  concertos  of  his  own  com- 
jiosition  ;  he  then  entered  the  service  of 
the  Count  von  Eltz,  at  Mainz,  and  thence 
went  to  Paris,  where  be  studied  under 
Puuto,  and  becoming  a  celebrity  among 
virtuosi,  obtained  the  first  professorshijJ  of 
his  instrument  at  the  newly  erected  Con- 
servatoire, and  was  decorated  by  Napoleon 
I.  Having  started  out  from  Wiirzburg  with- 
out any  meaus,  he  left  a  fortune  of  over  a  mill- 
ion of  francs.  Works :  3  concertos  for  horn, 
with  orchestra  ;  Syraphonie  concertante 
for  2  horns  ;  2  collections  of  romances,  with 
pianoforte,  oj).  4,  aud  5  ;  Variations,  duets, 
quartets,  etc.  His  brothers,  Jacob  (born  at 
Wiirzburg,  1758,  died  in  America  (?)  after 
18()C>),  and  Arnold  (boru  Sept.  29,  1771, 
died  at  Meiningeu,  July  14,  1834),  were  also 
eminent  and  reputed  horn  players.  The 
former  led  a  wandering  life  from  his  thir- 
teenth year,  and  was  last  heard  of  fi-om 
Philadelphia  in  1806  ;  the  latter  was  cham- 
ber musician  to  the  Duke  of  Meiningeu, 
from  1786,  for  forty-eight  years. — Allgem. 
d.  Biog.,  V.  327  ;  Mendel  ;  Schilling. 

DOM  SEBASTIEN,  KOI  DE  PORTU- 
GAL, grand  opera  iu  five  acts,  text  by 
Scribe,  music  by  Donizetti,  represented  at 
the  Academie  Roj-ale  de  Musique,  Paris, 
Nov.  13,  1843.  This  mournful  work,  which 
has  been  described  as  a  "funeral  in  five 
acts,"  was  written  in  the  same  year  with 
the  gay  and  sprightly  Don  Pasquale.  The 
libretto,  which  is  lugubrious  and  absurd, 
deals  with  the  fatal  expedition  into  Morocco 
by  the  Portuguese  King,  Dom  Sebastiao  in 
1578,  iu  which  be  lost  his  life.  Zaida  was 
sung  by  Mme  Stoltz,  who  made  it  one  of 
her  best  impersonations.  The  ojaera  had 
only  thirty-two  representations. 

DONATI,  IGNAZIO,  boru  at  Casal-Mag- 
giore,  Lombardy,  towards  the  end  of  the 
16th  century,  died  (probably  at  Milan) 
after  1633.  Church  composer,  maesti'o  di 
cappella  of  the  Accademia  di  Santo  Spirito 
at  Ferrara  in  1619  ;  was  called  in  tlie  same 
caj)acity  to  his  native  town  iu  1624,  and  to 


DOXATO 


the  cathedral  of  Milau  in  1633.  "Works  : 
Sacri  concensus  a  1,  2,  3,  4,  e  5  vocum  (Ven- 
ice, 1612)  ;  Le  Faufakiche,  madrigali  a  3, 
4,  e  5  voci  (ib.,  1615) ;  Concerti  ecclesiastici, 
op.  2  (ib.,  1617)  ;  do.,  op.  4  (ib.,  1619) ; 
Messe  a  4,  5,  e  6  voci  jjiene  e  concertate 
(ib.,  1626) ;  Motetti  a  5  voci  concertati,  etc. 
(ib.,  1626) ;  do.,  op.  G  (ib.,  1627)  ;  Motetti  a 
voce  sola  col  basso  per  1'  organo  (ib.,  1628) ; 
Salmi  Boscherecci  a  sei,  op.  9  (ib.,  1629). 
— Fc'tis. 

DONATO  (Donati),  BALDASSAEE,  born 
about  1530  (1510?),  died  in  Venice,  June, 
1603.  Madrigal  comijoser,  maestro  di  cap- 
pella  of  San  Marco,  Venice.  He  was  first  a 
singer  in  the  choir,  whence  he  was  pro- 
moted on  account  of  merit  as  a  composer 
to  be  maestro  di  cappella  of  the  lesser 
choir  ;  but  this  was  suj)f)ressed  in  1565  and 
Donato  became  once  more  a  choir  singer. 
In  1590  he  succeeded  Zarlino  as  maestro  of 
the  main  choir.  Works :  II  primo  libro  di 
cauzonette  villanesche  alia  Napoletana  a 
quattro  (Venice,  1551  ;  2d  ed.,  1555)  ;  Mo- 
tetti, 1  libro,  a  5,  6,  8  voc.  (Venice,  1599)  ; 
Madrigali  a  cinque,  sei,  sette  e  otto  voci, 
lib.  2  (Venice,  1559)  ;  Madrigali  a  cinque  e 
sei  voci,  etc.,  lib.  1,  (1560)  ;  Madrigali  a 
cinque  voci,  lib.  4  (1567  ;  dates  of  the  other 
three  not  known)  ;  Madrigali  a  4  voci,  lib. 
1,  2  (Venice,  1568).  Some  of  his  madrigals 
for  4  voices  are  found  in  the  collection  en- 
titled :  La  eletta  di  tutta  la  Musiea  intitu- 
lata  Corona  di  diversi,  etc.,  Zorzi,  lib.  1  (Ven- 
ice, 15G9).  His  madrigal :  Chi  la  gagliarda, 
has  been  an-anged  by  Oliphant,  as  :  All  ye 
who  music  love. — Fetis  ;  Mendel ;  Schil- 
ling ;  Eiemann. 

DON  BUCEFALO,  Italian  opera  bufta,  in 
three  acts,  music  bj'  Antonio  Cagnoui,  rep- 
resented at  the  Teatro  del  Ke,  Milan, 
1847 ;  at  the  Teatro  Carcano,  ib.,  1849  ; 
and  at  the  Theatre  Italien,  Paris,  Nov.  9, 
1865.  Don  Bucefalo  is  a  musician  who 
imagines  himself  a  great  composei*.  He 
converts  a  troup  of  villagers  into  opera 
singers  and  tries  to  teach  them  their  re- 
spective   parts,  wholly  unconscious  of    an 


intrigue  between  Eosa,  his  prima  donna, 
who  passes  as  a  widow,  the  gouty  Marco 
Bomba,  and  a  young  count ;  and  he  is 
plunged  into  despair  when  her  real  hus- 
band appears  and,  carrying  her  off,  breaks 
up  all  his  plans.  This  amusing  work  was 
very  successful  in  Italj*. 

DON  CARLOS,  opera  in  five  acts,  test 
by  Mery  and  Camille  du  Locle,  music  by 
Verdi,  represented  at  the  Opera,  Paris, 
March  11,  1867  ;  and  at  Her  Majesty's 
Theatre,  London,  June  4,  1867.  The  sub- 
ject is  the  morbid,  imjiulsive  son  of  PhiUp 
H.  of  Spain,  engaged  to  Elizabeth  of 
France,  who  subsequently  became  his  step- 
mother, and  whose  conduct  so  exasjjerated 
his  father  that  he  had  him  placed  under 
arrest  and  finallj-  transferred  to  the  prison 
at  Madrid,  where  he  died  in  1568,  at  the 
age  of  twenty-three.  The  libretto  is  found- 
ed on  Schiller's  drama  of  the  same  title. 
The  original  cast  in  Paris  was  as  follows : 

Philip  II M.  Obin. 

Don  Carlos M.  Morere. 

Marquis  de  Posa M.  Faure. 

Grand  Inquisitor M.  Belval. 

Monk M.  David. 

Elizabeth  de  Valois Mme  Sass. 

Princess  Epoli Mme  Gueymard. 

Page Mile  Levieilli. 

The  same  subject  had  been  previously 
treated  in  Don  Carlo,  Italian  opera,  text  by 
Giacchetti,  music  by  Pietro  Bona,  Milau, 
1847  ;  Don  Carlo,  text  by  Beninzoue,  after 
Alfieri's  "Filippo,"  music  by  Ferrari  ;  Don 
Carlos,  opera  seria  in  three  acts,  test  by 
Tarantini,  music  by  Costa,  Her  Majesty's 
Theatre,  London,  June  20,  1844 ;  Don 
Carlos,  Italian  opera,  music  by  Vincenzo 
!Moscuzza,  Teatro  San  Carlo,  Naples,  May 
25,  1862.— Hanslick,  Modeme  Oper,  243.  ' 

DON  CAELOS,  ou  la  belle  invisible  (The 
Invisible  Beauty),  opera,  music  by  Duplessis, 
represented  at  the  Theatre  des  Aleves  de 
I'Opera,  Paris,  1780.  Don  Carlo,  opura- 
comique  in  one  act,  text  by  Lcger  and 
Tremblay,  music  by  Deshayes,  produced  at 


440 


DON  CESAR  DE  BAZAN. 


the  Opera  Comique,  Paris,  Jan.  11,  1800. 
These  two  differ  in  subject  from  the  above. 
DON  CESAE  DE  BAZAN,  opera-comique 
in  three  acts  and  four  tableaux,  text  by  Den- 
nery,  Dumanoii',  and  Ghantejjie,  music  by 


Galli-Marie. 

Massenet,  represented  at  the  Opera  Co- 
mique, Paris,  Nov.  30,  1872.  The  libretto 
is  an  adajstation  of  a  romantic  drama  of  the 
same  title,  in  iive  acts,  by  the  same  authorsi 
represented  at  the  Theatre  de  la  Porte-Saint- 
Martin,  in  1844.  Don  Cesar  is  a  character 
from  Victor  Hugo's  drama,  "RuyBlas."  The 
ojjera  was  sung  by  Bouhy,  Lherie,  Neveu, 
Mme  Galli-Marie,  and  Mile  Priola.  For 
Wallace's  Don  Cesar  de  Bazan,  see  Maritana. 

DON  CHISCIOTTO.     See  Don  Quixotte. 

DON  DESIDERIO,  Italian  opera  buffix 
iu  two  acts,  text  by  the  Comte  Giraud,  after 
the  play  entitled  "  L'obligeant  maladroit," 
music  by  Prince  Joseph  Poniatowski,  rep- 
resented at  Pisa,  18.39,  at  Rome,  1842,  and 
at  the  Theatre  Italien,  Paris,  March  IG,  1858. 

DON  GIOVANNI,  ossia  il  dissoluto  pu- 
uito  (The  Libertine  Punished),  Italian  opera 
buffa  in  two  acts,  text  by  Lorenzo  da  Ponte 
(born  in  Venice,  1749,  died  in  New  York, 
1838),  music  by  Mozart,  first  represented  at 
Prague,  Oct.  29,  1787.  The  libretto  is  iu 
part  au  adaptation  of  Moliere's  "  Le  festin 
de  pierre  "  (1665),  which  in  turn  derives 
its  subject  from  "  El  burlador  de  Sevilla  y 
couvidado  de  piedra  "  (1622)  by  the  Spanish 


poet  Gabriel  Tellez,  whose  pseudonym  was 
Tirso  de  Molina.  Moliere's  play  was  pre- 
ceded by  an  Italian  version  by  Onofrio 
Giliberti,  "II  convitato  di  pietra,"  given  at 
Naples  in  1652,  and  bj'  several  French  ver- 
sions which  popularized  the  subject  in 
France.  The  original  of  this  prince  of  lib- 
ertines was  Don  Juan  Teuorio,  of  Seville, 
Spain,  who  attempted  the  seduction  of  the 
governor's  daughter.  The  father,  forcing 
Don  Juan  to  a  duel,  is  slain,  and  a  statue  is 
erected  to  him  in  the  family  vault.  One 
day  Don  Juau  forced  his  way  into  the  vault 
and  invited  the  statue  to  a  banquet.  To 
the  amazement  of  the  guests,  shortly  after 
assembled  at  the  libertine's  house,  the 
statue  enters  the  banquet  hall,  seizes  Don 
Juan,  and  delivers  him  to  devils,  who  carry 
him  off  to  his  doom.  Mozart's  work,  called 
by  Naumaun  the  "  grandest  romantic  opera 
that  the  history  of  music  can  show,"  was 
written  in  Prague  iu  about  six  weeks  after 
the  composer's  an-ival  there.  The  overture 
was  written  the  night  before  its  first  per- 
formance.     The    opera  was   received  with 


Lorenzo  da  Ponte. 

rapturous   approval  at  Prague,   where  the 
original  cast  was  as  follows  : 

Donna  Anna Signora  Teresa  Saporiti. 

Donna  Elvira.  .  .  .Signora  Catarina  Micelli. 

Zerlina Signora  Catarina  Bondini. 

Don  Ottavio Signor  Antonio  Baglioni. 

Don  Giovanni Signor  Luigi  Bassi. 

Leporello Signor  Felice  Ponziani. 

Masetto  and  Don  Pedro . .  Signor  Giuseppe 

Lolli. 


441 


DON^ 


Among  the  most  noted  of  its  numbers  are 
the  humourous  aria  by  Leporello,  Don  Gio- 
vanni's rascally  valet,  "  Notte  e  giorno  fati- 
car;"  the  charming  aria  of  Donna  Elvira, 
"  Ah  !  chi  mi  dice  mai ;  "  the  buffo  aria  of 
Leporello,    "  Madamina,  il  catalogo,"  com- 


,4SS:.^ 


Lablache  as   Leporello. 

nionly  called  the  Catalogue  Song,  because 
iu  it  he  catalogues  his  master's  amours  ;  the 
duet  of  Don  Giovanni  and  Zerlina,  "  La  ci 
darem  la  mano  !  "  ;  the  song  of  Don  Gio- 
vanni, "Finch' ban  dal  vino;"  the  aria  of 
Zerlina,  "  Batti,  batti,  o  bel  Masetto,"  sung 
to  her  jealous  lover  ;  and  the  trio  of  Donna 
Anna,  Donna  Elvira,  and  Don  Ottavio,  fa- 
mous as  the  Mask  Trio,  all  iu  the  first  act. 
The  second  act  opens  with  a  duet  between 
Don  Giovanni  and  Leporello,  "Eh  !  via  buf- 
fone,"  followed  by  the  trio,  as  Donna  Elvira 
appears  at  the  window,  "Ah  !  taei  ingiusto 
core."  After  Don  Giovanni's  serenade  to 
Zerlina,  "  Deh  !  vieni  alia  finestra,"  Zerlina 
consoles  the  beaten  Masetto  with  the  beau- 
tiful aria,  "Vedrai  carino."  The  second 
scene  ojsens  with  a  strong  sextet  followed 


by  an  air  by  Leporello,  after  which  comes 
the  celebrated  tenor  aria,  "II  mio  tesoro 
intanto."  The  finale  is  filled  up  with  the 
statue  and  banquet  scenes,  excej)tiug  a 
short  scene  between  Donna  Anna  and  Don 
Ottavio,  in  which  the  former  sings  the  aria, 
"  Non  mi  dir,  bell'  idol  mio,"  commonly 
called  the  Letter  Aria.  When  Don  Gio- 
vanni was  given  in  Vienna,  May  7,  1788, 
IMozart  wrote  for  it  four  new  numbers :  the 
air  of  Leporello,  in  the  second  act,  "  Ah  ! 
pieta,  signori  iniei !  "  the  duet  between  Le- 
poi-ello  and  Zerlina,  "Per  quests  tue  ma- 
nine  ;"  the  aria  of  Donna  Elvira,  "Mi  tradl 
quell'  alma  ingrata  !  ;  "  and  the  aria  of  Don 
Ottavio,  "  Dalla  sua  pace."  Don  Giovanni 
was  refiresented,  Oct.  12,  1791,  in  Berlin, 
but  neither  there  nor  in  Vienna  was  it  ap- 
preciated at  first.  A  French  version  of  Don 
Juan,  text  by  Thuring  and  Baillot,  music 
arranged  by  Kalkbrenner,  with  changes 
and  intercalations,  was  given  in  Paris,  at 
the  Academie Imjicriale  de  Musique,  Sept.  17, 
1805  ;  but  the  original  was  not  performed 
there  until  Oct.  12,  1811,  when  it  was  sung 
at  the  Theatre  Italien.  Another  and  better 
French  version  in  four  acts,  text  by  Castil- 
Blaze,  was  given  at  the  Odeon,  Dec.  24, 
1827  ;  and  a  third,  iu  five  acts,  by  Castil- 
Blaze,  A.  H.  Castil-Blaze,  and  E.  Deschamps, 
at  the  Academie  Eoyale  de  Musique,  March 
10,  1834.  In  18GG  it  was  produced  con- 
cui'rently  at  the  Opera  and  at  the  Theatre 
Lyrique,  with  great  success.  Don  Giovanni 
was  first  performed  in  London  at  the  King's 
Theatre,  April  12,  1817  ;  and  in  New  York, 
at  the  Park  Theatre,  May  23,  1826.  The 
centennial  anniversary  of  its  first  perform- 
ance was  celebrated  at  Salzburg,  Oct.  29, 
1887.  The  subject  of  Don  Juan  was  first 
treated  musically  by  Le  Tellier,  iu  a  vaude- 
ville entitled  Le  festin  de  pierre,  Paris, 
1713.  This  was  followed  by  Don  Juan, 
ballet,  by  Gluck,  Vienna,  17(51  ;  II  convitato 
di  pietra,  ojDera,  music  by  Eigliini,  Vienna, 
1777  ;  do.,  opera,  music  by  Tritto,  Naples, 
1783  ;  Don  Giovanni,  opera  semi-seria, 
nuisic    by    Albertini,    Venice,    1784 ;    Don 


449 


DOX 


Giovanni  Tenorio,  ossia  il  convitato  di  pie- 
tra,  opera,  music  by  Gazzaniga,  Bergamo, 
1788 ;  Don  Giovanni,  ossia,  etc.,  opera, 
music  by  Fabrizi,  Fauo,  1788 ;  II  dissolute 
jjunito,  oj^era,  music  by  Raimoudi,  Rome, 
about  1818  ;  Don  Juau  Tenorio,  ojjera,  by 
Ramon  Caruicer,  Barcelona,  1818  ;  II  con- 
vitato di  pietra,  by  Giovanni  Pacini,  Via- 
reggio,  1832  ;  Don  Juan  de  fantaisie,  ope- 
rette,  by  Barbier,  Paris,  18G{J ;  Eiu  kleiner 
Don  Juan,  operetta  by  Ziebrer,  Pesth,  1879  ; 
II  uuovo  Don  Giovanni,  operetta  by  Palmi- 
eri,  Trieste,  1884 — Dwiglit's  Journal,  iii. 
41,  4(5,  49  ;  Hanslick,  Moderne  Oper,  30  ; 
Edwards,  Lyrical  Drama,  i.  42-148  ;  Cas- 
til-Blaze,  Moliere  Musicien,  i.  189 ;  Engel, 
Karl,  The  Legend  of  Don  Juan  on  the  Stage 
(1887);  Freisauff,  R.  von,  Mozart's  Don 
Juan,  1787-1887  (1887)  ;  N.  Zeitsclir.  f. 
Mus.  (1887),  481,  485,  494,  505,  518  ;  Rietz, 
preface  to  edition  of  full  score,  Breitkoff  & 
Hiirtel  (Leipsic,  1871). 

DON  GREGORIO,  ou  le  precepteur  dans 
I'embarras  (The  Embarrassed  Tutor),  opera- 
comique  in  three  acts,  text  by  Sauvage 
and  de  Leuveu,  music  by  the  Comte  Ga- 
brielli,  re^Jresented  at  the  Opera  Comique, 
Paris,  Dec.  17,  1859.  The  plot  is  derived 
from  the  Comte  Giraud's  comedy,  "  Le  jiru- 
cepteur  dans  I'embarras."  The  same  sub- 
ject has  been  treated  by  Mosca,  in  his  opera, 
Don  Gregorio  in  imbarrazzo,  Italy,  about 
1813  ;  by  Airoldi,  in  his  ojjera  buffix,  Don 
Gregorio  nelF  imbarrazzo,  Venice,  1850  ;  and 
by  Donizetti,  in  L'  A  Jo  nell'  imbarrazzo. 

DONIZETTI,  GAETANO,  born  at  Ber- 
gamo, Italy,  Nov.  29,  1797,  died  there, 
April  8,  1848.  He  began  his  musical  stud- 
ies at  the  Liceo  in  his  native  town,  and  then 
entered  the  Naples  Conservatorio,  where 
he  finished  under  Simon  Mayr.  He  is 
said  also  to  have  studied  under  Pilotti 
and  Mattel  at  Bologna.  His  first  opera, 
Enrico  di  Borgogna,  was  brought  out  at 
Vienna  in  1818.  The  success  of  Zoraide 
di  Granata,  brought  out  at  Rome  in  1822, 
was  such  that  it  saved  the  composer  from 
military   conscription,    and    won    him    the 


honour  of  being  carried  in  triumph  and 
crowned  at  the  Capitol.  Donizetti's  earlier 
operas  were  all 
imitations  of  Ros- 
sini's style,  and, 
for  the  most  23art, 
very  hurriedly 
and  carelessly 
written.  At 
length,  in  1830 
he  produced  Anna 
Bolena  at  Milan, 
a  more  elaborate 
piece  of  workman- 
ship than  he  had  hitherto  attempted,  and 
the  first  of  his  operas  to  win  more  than  local 
fame.  In  L'  elisire  d'  amore,  Milan,  1832, 
and  especially  in  Lucia  di  Lammermoor, 
Naples,  1835,  his  style  showed  itself  to  be 
fully  formed.  In  1835  Donizetti  visited  Pa- 
is, where  he  brought  out  Marino  Faliero,  at 
the  Theatre  des  Italieus,  and,  five  years 
later,  Luerezia  Borgia,  which  he  had  written 
in  1834  for  Milan.  In  this  work  the  com- 
poser seems  at  times  to  have  anticipated 
the  more  intensely  dramatic  style  of  Verdi. 
During  the  same  year  (1840),  Les  martyrs, 
which  in  its  original  Italian  form  of  Poliuto 
had  been  forbidden  by  the  censorship  of 
Naples,  was  brought  out  at  the  Opera, 
La  fiUe  du  regiment,  at  the  Opera  Co- 
mique, and  La  favorite,  at  the  Opera.  Lucia, 
Luerezia  Borgia,  and  La  favorite,  may  be 
regarded  as  Donizetti's  best  and  most  suc- 
cessful serious  works.  Of  these  three,  the 
second  is  better  known  and  more  highly 
esteemed  in  England  and  America  than  in 
France  or  Germany  ;  La  favorite  owes  its 
high  reputation  to  its  fourth  act,  probably 
the  finest  and  most  dramatic  act  that  the 
composer  ever  wrote.  But  Lucia  is  almost 
universally  recognized  as  his  masterpiece, 
in  sjoite  of  some  very  weak  moments  in 
it.  Leaving  Paris,  Donizetti  visited  Rome, 
Milan,  and  Vienna,  at  which  last  city  he 
brought  out  Linda  di  Chamonix,  in  1842, 
and  wrote  a  Miserere  and  an  Ave  Maria, 
for  the  Hofkapelle,  the  strict  style  of  which 


443 


DONIZETTI 


was  much  applauded  by  German  critics. 
Eevisitiug  Paris  iu  1843,  Donizetti  produced 
Dou  Pasquale,  at  tbe  Tlieatre  des  Italiens, 
aud  Dom  Sebastien,  at  tbe  Opera,  the 
former  a  great  success,  the  latter  a  decided 
failure,  albeit  probably  the  composer's  most 
elaborate  aud  carefully  written  score.  Maria 
di  Eohau,  also  an  elaborate  work,  written 
for  Vienna  the  year  before,  met  with  more 
success.  Catarina  Cornaro,  his  last  opera, 
made  a  decided  failure  at  Naples  in  1844. 
Le  due  d'Albe,  discovered  a  few  j'ears  ago  iu 
a  sealed  box,  and  i^roduced  with  some  eclat 
iu  Italy,  was  an  early  work.  During  the 
last  years  of  his  life  Donizetti  was  subject 
to  fits  of  melancholy.  He  died  of  a  stroke 
of  paralysis.  Works — Operas  :  1.  Enrico 
di  Borgogua,  Venice,  Teatro  San  Luca,  1818  ; 
2.  II  falegnanie  di  Livonia,  ib.,  1819  ;  3. 
Le  uozze  in  villa,  Mantua,  1820  ;  4.  Zora'ide 
di  Granata,  Home,  1822  ;  5.  La  zingara, 
Naples,  1822  ;  6.  La  lettera  anonima,  ib., 
1822  ;  7.  Chiara  e  Serafiua,  Milan,  1822  ; 
8.  II  fortuuato  inganno,  Venice,  1823  ;  9. 
Alfredo  il  Grande,  ib.,  1823  ;  10.  Unafolha, 
ib.,  1823  ;  11.  L'  ajo  nell'  imbarrazzo,  Rome, 
1824  ;  12.  Emilia  di  Liverpool,  Naple.s, 
1824 ;  13.  Alahor  in  Granata,  Palermo, 
1826  ;  14.  II  castello  degli  iuvalidi,  Na- 
ples, 182G  ;  15.  Elvida,  ib.,  1826  ;  16.  II 
giovedi  grasso,  ib.,  1827  ;  17.  Olivo  e  Pas- 
quale, Eome,  1827  ;  18.  II  Borgomastro 
di  Saardam,  Naples,  1827  ;  19.  Le  cou- 
venienzi  teatrali,  ib.,  1827  ;  20.  Otto  mesi 
in  due  Ore,  Palermo,  1828  ;  21.  Bisahctla 
a  Kenilworth,  Najjles,  1828  ;  22.  La  regina 
di  Golcouda,  Genoa,  1828  ;  23.  Gianni  di 
Calais,  Naples,  1828,  Paris,  Theatre  Italien, 
Dec.  17,  1833  ;  24.  L'  esule  di  Roma,  Na- 
ples, 1829  ;  2.5.  L'  elisire  d'  amore,  ib., 
1820  ;  26.  II  paria,  ib.,  1829  ;  27.  II  castello 
di  Kenilworth,  ib.,  1829  ;  28.  II  rfi7«DJ0  uni- 
versale, ib.,  1830;  29.  I  pazzi  per  progetto, 
ib.,  1830  ;  30.  Francesca  di  Foix,  ib.,  1830 ; 
31.  Isnelda  di  Lambertazzi,  ib ,  1830  ;  32. 
La  romanziera,  ib.,  1830  ;  33.  Anna  Bolena, 
Milan,  1831  ;  34.  Fausta,  Najjles,  1831  ;  35. 
Ugo,    coute    di   Parigi,    Milan,    1832  ;    36. 


Sancia  di  Castilla,  Naples,  1832  ;  87.  II 
nuovo  Pourceaugnac,  ib.,  1832  (there  is 
some  doubt  as  to  this  opera  being  really 
by  Donizetti)  ;  38.  II  furioso  nell'  isola  di 
San  Domingo,  Rome,  1833,  Paris,  Theatre 
Italien,  Feb.  2,  1862  ;  39.  Paridna,  Flor- 
ence, 1833  ;  40.  Torqualo  Tasso,  Rome, 
1833 ;  41.  L'  assedio  di  Calais,  1833  ;  42. 
Liwrezia  Borgia,  Milan,  Teatro  della  Scala, 
1834;  43.  Rosamunda  d'  Inghilterra,  Flor- 
ence, Teatro  della  Pergola,  1834  (later  at 
Najjles  as  Eleonora  di  Guienna) ;  44.  Maria 
Stuarda,  Naples,  1834  (later  at  Rome  as 
Buondelmonte)  ;  45.  Gemma  di  Vergi,  Mil- 
an, 1835,  Paris,  Theatre  Italien,  Dec.  6, 
1845  ;  46.  Marino  Faliero,  Paris,  Theatre 
Italien,  1835  ;  47.  Lucia  di  Lanunermoor, 
NajDles,  1835  ;  48.  Belisario,  Venice,  T. 
della  Fen  ice,  Feb.  7,  1836  ;  49.  II  Cam- 
panello  di  Notte,  Naples,  1836,  St.  Peters- 
burg, January,  1864  ;  50.  Belly,  ib.,  1836  ; 
51.  Roberto  Devereux,  ib.,  1836  ;  52.  Pio 
de'  Tolomei,  Venice,  1837  ;  53.  Maria  di 
Rudenz,  ib.,  1838  ;  54.  Poliuto,  not  per- 
formed, Pai'is,  Oj^era,  as  Les  martyrs,  Ajsril 
10,  1840,  aud  Theatre  Itahen,  April  14, 
1859  ;  55.  Gianni  di  Parigi,  Milan,  1839  ; 
56.  Gabriella  di  Vergi,  ib.,  1839  (not  per- 
formed, but  given  in  Naples,  1844)  ;  57. 
La  JiUe  du  regiment,  Pai'is,  Opera  Co- 
mique,  Feb.  11,  1840  ;  58.  La  favorite,  ib.. 
Opera,  Dec.  2,  1840  ;  59.  Adelasia,  ossia  la 
figlia  dell'  arciero,  Rome,  1841 ;  60.  Mlaria 
Padilla,  Milan,  1841  ;  61.  Linda  di  Cliamo- 
nix,  Vienna,  Kiirnthnerthor  Theater,  1842  ; 
62.  Maria  di  Rohan,  Vienna,  1843 ;  63. 
Don  Pasquale,  Paris,  Theatre  Italien,  Jan. 
4,  1843  ;  64.  Dom  Sebastieu,  Paris,  OjJera, 
Nov.  13,  1843  ;  65.  Galarina  Cornaro,  Na- 
ples, Teatro  San  Carlo,  1844  ;  66.  Rita,  ou 
le  marl  battu  (posthumous),  Paris,  Oj^era 
Comique,  May  7,  1860  ;  67.  Le  Due  d'Albe, 
(do.),  Barcelona,  1882.  Dramatic  and  other 
Cantatas :  L'  Ai-istea,  1823  ;  I  voti  de'  sudditi, 
1825  ;  Elvira,  1826 ;  H  fausto  ritorno,  1830  ; 
Admete,  1832  ;  La  morte  d'  Ugoliuo,  1835. 
Miscellaneous  :  Nuits  d'ete  a  Pausilippe  (ly- 
ric  album)  ;    Sou'ees  d'automue  a  I'lnfraa- 


DON 


cata  (G  songs  ami  duets)  ;  KCveries  iiapoli- 
taiues  (G  ballads)  ;  Ispirazioui  Vieuuesi  (5 
ariettas  and  2  ducts) ;  Les  soirees  de  Paris 
(12  cauzouets  aud  duets)  ;  7  masses,  of 
whicli  one  is  a  requiem ;  Several   vespers, 

psalms,  and  motets  ;  12  string  quartets,  aud 
some  pianoforte  music. — Filipjio  Ciccoiietti, 
Vita  di  G.  Donizetti  (Rome,  1864) ;  Federico 
Alborglietti  and  Michelangelo  Galli,  Doni- 
zetti-Ma3'r  (Bergamo,  1875)  ;  Clement,  Mas. 
coU'bres,  453  ;  Fetis. 

DON  JUAN.     See  Don  Giomnni. 

DON  PASQUALE,  opera  butia  in  three 
acts,  text  and  music  by  Donizetti,  repre- 
sented at  the  Theatre  Italieu,  Paris,  Jan.  4, 
1843.  The  plot  is  derived  from  an  older 
Italian  opera  in  two  acts,  Ser  Marc' Antonio, 
music  by  Pavesi,  which  was  represented  iu 
Milan  in  1811,  and  in  Paris  in  1813.  Don 
Pasquale,  old  and  rich,  takes  it  into  his 
head  to  marry.  His  friend,  Dr.  Malatesta, 
unable  to  dissuade  him,  jjroposes  to  him  to 
marry  his  sister  Sophronia,  a  timid,  modest 
girl,  he  tells  him,  brought  up  iu  a  convent. 
Under  this  guise  he  introduces  to  him  a 
young  widow,  Noriua,  the  beloved  of  Don 
Pasquale's  nepliew,  Ernesto.  The  old  man 
is  captivated  aud  a  sham  man-iage  contract 
is  signed.  This  is  no  sooner  done  than 
Noriua  drops  her  assumed  modesty  and 
leads  the  Don  such  a  dance  that  he  is  finally 
glad  to  take  the  Doctor's  advice  and  let  Er- 
nesto marry  her  iustead.  He  is  too  glad  of 
his  escape  to  quarrel  with  Malatesta  wheu 
he  discovers  the  plot,  aud  the  young  couple 
are  united  with  his  blessing.  This  charm- 
ing opera,  almost  unequalled  for  sparkling 
gayety  aud  comic  situations,  was  writteu  by 
Donizetti  iu  three  weeks.  The  exquisite 
serenade  in  the  third  act,  "  Com'  e  gentil," 
is  still  a  favourite  with  concert  singers. 
The  original  cast  of  the  opera  was  as  fol- 
lows : 


Noriua Siguora  Grisi. 

Ernesto Signor  Mario. 

Dr.  Malatesta Signor  Tamburini. 

Dou  Pasquale Signor  Lublache. 

Don  Pasquale  was  played  for  uiany  years 
after  its  first  representation  as  a  piece  of 
the  present,  but  for  the  sake  of  picturesque- 
uess  the  characters  were  tiually  dressed  iu 
the  costume  of  the  last  century.  It  was 
produced  iu  London  at  Her  Majesty's  The- 
atre, June  30,  1843.  In  18G4  a  French 
version,  by  Ali^honse  Royer  and  Gustave 
Vaez,  was  given  in  Pai-is  at  the  Theatre  Ly- 
rique.  An  English  version  was  given  iu 
New  York,  March  9,  184G  ;  it  was  first  sung 
there  in  Italian,  Dec.  18,  1849.- — Edwards, 
Lyrical  Drama,  ii.  3G. 

DON  QUIXOTE.  The  great  romance  of 
Cervantes,  "  El  ingeuioso  hidalgo  Don  Qiii- 
jote  de  la  Maucha  "  (1G05-15),  has  furnished 
the  material  for  many  operas.  The  earliest 
appears  to  have  been  :  Der  irreude  Ritter 
Dou  Quixote  de  la  Mancha,  text  by  Hiusch, 
music  by  Fiirtsch,  Hamburg,  1690 ;  and 
next,  Don  Quixote,  text  by  D'Urfey,  music 
by  Henry  Purcell,  London,  1694.  These 
were  followed  by  :  Dou  Chisciotto  iu  Sierra 
Morena,  by  Conti,  Vienna,  1719  ;  Dou  Chis- 
ciotto alia  corte  della  duchessa,  by  Caldara, 
Vienna,  1727 ;  Don  Chisciotto,  hy  Padre 
Martiui,  Italy,  about  1730  ;  by  Treu,  Bres- 
lau,  1727  ;  by  Holzbauer,  Mannheim,  1755  ; 
by  Picciuni,  Naples,  1770  ;  Dou  Chisciotto 
alle  nozze  di  Gamazzo,  by  Salieri,  Vienna, 
1771 ;  Don  Chisciotto  della  Maucia,  by  Pai- 
siello,  Naples,  1769  ;  Dou  Quixote,  German 
opera,  by  Schack,  Vienna,  1792  ;  by  Hubat- 
schek,  Hermannstadt,  about  1792  ;  by  Dit- 
tersdorif,  Oels,  1795  ;  Don  Chisciotto,  Italian 
opera,  by  Tarchi,  Paris,  1791  ;  by  Generali, 
text  by  Rossi,  Milan,  1805  ;  by  Miari,  Venice, 
about  1810  ;  by  Manuel  Garcia,  New  York, 
1827  ;  by  Mercadante,  Cadiz,  1829  ;  by  Maz- 
zucato,  Milan,  1836  ;  by  Lucantoni  (ballet), 
Milan,  1845  ;  by  Luigi  Ricci,  Jr.,  Venice, 
1881  ;  Don  Quichotte  chez  la  ducliesse  (bal- 
let), text  by  Favart,  music  by  Boismortier, 


445 


DON 


Paris,  1743 ;  Dou  Quixote,  by  Macfarren, 
Loudon,  18i6 ;  Ritter  Don  Quixote,  by 
Spindler,  about  1790  ;  Die  Abeuteuer  des 
liitters  Dou  Quixote  de  la  Maucha,  by  Sei- 
del,  Berlin,  1811 ;  Le  nouveau  Dou  Qui- 
cliotte,  by  Champeiu,  text  by  Boissel,  Paris, 
1789  ;  a  Polish  opera,  similar  title,  by  Mo- 
niuszko,  Wilna,  184:7 ;  Dou  Quicliotte  at 
Sancho,  by  Clapisson,  Paris,  1847 ;  Dou 
Quicliotte  et  Sancho  Pausa,  by  Herve,  Paris, 
1848  ;  Dou  Quicbotte,  b\'  Ernest  Boulauger, 
text  by  Barbier  aud  Carre,  Paris,  1869 ; 
Don  Quixote,  by  Frederic  Clay,  London, 
1875  ;  Dou  Quixotte,  operetta,  by  Both  and 
Weiuzierl,  Vienna,  1879. 

DON  QUIXOTE,  characteristic  compo- 
sition for  orchestra,  by  Antou  liubinsteiu, 
op.  87.     Published  by  Senfi'  (Leip.sic). 

DON  RODKIGO.     See  Cid. 

DONNA  BIANCA  DAVENELLO,  LA. 
See  La  Dame  blanche. 

DONNA  DEL  LAGO,  LA  (The  Lady  of 
the  Lake),  Italian  opera  in  two  acts,  text  by 
Tottola,  music  by  Rossini,  first  represented 
at  the  Teatro  Sau  Carlo,  Najjles,  Oct.  4, 
1819  ;  in  Loudon,  King's  Theatre,  Feb.  18, 
1823  ;  in  Paris,  Sept.  7,  1824 ;  in  New 
York,  Nov.  28,  1833.  Subject  from  Walter 
Scott's  "Lady  of  the  Lake."  The  leading 
jjart,  Elena,  was  written  for  Mile  Colbran, 
who  saug  it  with  striking  success.  In  this 
work  Rossini  introduced  for  the  first  time 
a  military  baud  on  the  stage.  Much  of  the 
music  of  the  Donna  del  Lago  was  afterwards 
transferred  to  Robert  Bruce.  A  French 
version.  La  dame  du  lac,  in  four  acts,  text 
by  d'Epaguy,  Auguste  Rousseau,  aud  Horace 
Raisson,  with  the  music  arranged  by  Le- 
mii're  de  Corvey,  was  given  at  the  Odeon, 
Paris,  Oct.  31,  1825.  The  Knight  of  Snow- 
dou,  English  opera,  music  by  Henry  Row- 
ley Bishop,  London,  1811,  deals  with  the 
same  subject. — Edwards,  Prima  Donna,  i. 
1G4  ;  Clemeut  and  Larousse,  233. 

DONNA  DIANA,  comic  opera,  text  by 
Wittkowski,  music  by  Heinrich  Hofmaun, 
first  represented  at  the  Royal  Opera  House, 
Berlin,  Nov.  15,  1886.    Subject  from  Agus- 


tin  Moreto's  comedy,  "Desden  con  el  des- 
den  (Disdain  met  with  Disdain),  which  was 
adajited  for  the  French  stage  by  ^Moliere  as 
"  La  princesse  d'Elide,''  for  the  Italian  by 
Carlo  Gozzi  as  "La  priucipessa  filosofa,  o 
il  contravveleno,"  aud  for  the  German  by 
Joseph  Schreyvogel  as  "Donna  Diana." 
— Leipsic  Siguale  (1886),  1078. 

DONNA  DI  SPIRITO,  LA  (The  Woman 
of  Genius),  Italian  opera  buffa,  music  by 
Piccinni,  represented  at  Naples,  about  1770. 

DONNE  DISPETTOSE,  LE  (The  Spite- 
ful Women),  Italian  comic  opera,  music 
by  Piccinni,  represented  at  the  Teatro 
Fioreutino,  Naples,  1754.  Piccinni  made 
his  debut  as  a  composer  with  this  work, 
after  twelve  years'  study  in  the  Couserva- 
torio. 

DONNEZ  POUR  UNE  PAUVRE  AME. 
See  Pruphlie. 

DONT,  JAKOB,  born  in  Vienna,  March 
2,  1815,  still  living,  1888.  Violinist,  son 
of  the  violoncellist  Josef  Valentin  Dont 
(1776-1833),  pupil  of  BOhm  aud  Hellmes- 
berger,  the  elder,  at  the  Couservatorium  in 
Vienna,  where  he  entered  the  orchestra  of 
the  Burgtheater  in  1831,  aud  the  imperial 
Court  orchestra  in  1834.  He  distinguished 
himself  as  a  solo  and  quartet  player,  and 
was  much  esteemed  as  a  teacher.  He  has 
beeu  since  1873  professor  at  the  Couser- 
vatorium. His  compositions,  numbering 
about  50  works,  and  comprising  concertos, 
solos,  variations,  quartets,  etc.,  were  most 
favourably  commented  upon  by  Spohr. — 
Fetis  ;  Mendel ;  Riemann. 

DOPPEL-SINFONIE.  See  Jrdisches  und 
Gottliches  im  Meuschenlebeu. 

DOPPLER,  (ALBERT)  FRANZ,  born  at 
Lemberg,  Galicia,  Oct.  1,  1821,  died  at 
Baden,  near  Vienna,  July  27,  1883.  Hav- 
ing finished  his  musical  education  in  Vi- 
enna, aud  made  a  concert  tour  with  his 
brother  Karl,  he  became  first  flute  at  the 
theatre  of  Pesth,  where  he  began  to  com- 
pose. In  1858  he  was  engaged  for  the  Vi- 
enna Hofoper.  Works  :  Beujowski,  Polish 
opera    given    in    1847 ;    Ilka,    Hungarian 


44G 


DOPFLEIl 


opera,  1849 ;  Afaiiasia  ;  Wanda,  Polish  '  tlior  of  motets  fonml  in  Attaignanfs  collec- 
opera,  1851  ;  Erzebetli  (with  bis  brother 
Karl  and  with  Erkel) ;  Die  beideu  Husaren, 
Hungarian  comic  ojjera,  1853  ;  Judith,  Ger- 
man opera,  Vienna,  1870  ;  overtures,  bal- 
lets, and  other  music. — Wurzhach,  Biogr. 
Lex.,  iii.  372  ;  Mendel,  iii.  214  ;  Fetis,  iii. 
4G ;  Suppk'raent,  i.  277  ;  Sowinski,  160. 

DOPPLER,  KAEL,  born  at  Lemberg  in 
1826,  still  living,  1888.  Studied  under  his 
father  and  his  brother,  Franz  Doppler. 
After  a  concert  tour  he  became  conductor 
at  a  theatre  in  Pesth.  Works :  Das  Lager 
der  Grenadiere  ;  Der  Sohu  der  Wiiste, 
Hungarian  operas  given  in  1852  and  1854  ; 
ballets  and  pieces  for  the  flute. — Mendel ; 
Fetis  ;  Wurzbach,  Biogr.  Lex.,  iii.  372  ; 
Sowinski,  160. 

DORATI,  (Doratus)  NICOLO,  Venetian 
composer  of  madrigals,  lived  in  the  second 
halt  of  the  IGth  century.  Works  :  Madrigali  a 
cnique,  sei  e  sette  voci,  lib.  1-2  (1559) ;  Mad- 
rigali a  cinque  voci,  lib.  1,  2,  3,  4  (Venice, 
15G7).— Fetis  ;  Mendel,  iii,  215  ;  Erganz.,91. 

DORFBARBIER,  DER  (The  Village  Bar- 
ber), German  Singspiel,  music  by  Johanu 
Adam  Hiller,  represented  at  Leipsie,  about 
1770  ;  opera,  music  byNeefe,  Leijasic,  1772  ; 
music  by  Johann  Schenck,  Vienna,  1796  ; 
music  by  Ludwig  Seidel,  Berlin,  1817.  See 
Barbier  de  village. 

DORFJAHRiNIARKT,  DER  (The  Annual 
Village  Fair),  German  operetta,  music  by 
Georg  Beuda,  1776. 

DORING,  KARL  HEINRICH,  born  in 
Dresden,  in  1834,  still  living  there,  1888. 
Instrumental  and  vocal  comjjoser,  pupil  at 
the  Conservatorium  of  Leipsie,  1852-55, 
then  of  Hauptmann  and  Lobe  in  counter- 
point and  composition  ;  taught  music  at 
Leipsie  until  1858,  when  he  returned  to 
Dresden,    and    became  a  professor   at  the   ib.,    1832  ;   Der    SchOffe  von    Paris,    Riga^ 


tions,  especially  in  :  XU.  motets  ii  quatre  et 
cinq  voix,  etc.  (1529). — Fetis,  iii.  47. 

DORN,  HEINRICH  (LUDWIG  EG- 
MONT),  born  in 
Kc'migsberg,  Nov. 
14,  1804,  still  living, 
1888,  in  Berlin.  He 
studied  law  at  the 
KOnigsberg  Univer- 
sity, and  after  visit- 
ing Leipsie,  Dres- 
den, Prague,  and 
Vienna,  settled  at 
Berlin,   where  he  '  ' 

pursued  his  musical  studies  under  Zelter, 
Berger,  and  Klein.  He  produced  an  opera 
at  Berlin  with  success  ;  was  appointed  con- 
ductor of  the  theatre  in  Ki'migsberg,  and 
filled  a  like  position  in  1829-32,  in  Leipsie, 
where  he  instructed  Schumann  in  counter- 
point. After  a  short  engagement  at  a 
Hamburg  theatre,  he  succeeded  Wagner 
as  conductor  in  Riga,  and  in  1843  was 
called  to  Cologne,  where  he  founded  in 
1845  the  Rheinisehe  Musikschule.  In  1849 
he  became  conductor  of  the  Berlin  Royal 
Opera,  from  which  he  was  retired  on  a 
pension  with  his  colleague,  Wilhelm  Tau- 
bert,  at  the  beginning  of  1869,  to  make 
way  for  Karl  Eckert.  He  received  the  title 
of  Kfjniglicher  Professor,  and  has  since 
been  engaged  in  teaching  and  writing. 
In  1876  he  celebrated  the  fiftieth  anni- 
versary of  the  beginning  of  his  career  as 
a  composer.  He  has  published  an  autobi- 
ography. Works — Operas  :  Die  Rolands- 
knappen,  performed  at  Berlin  in  1826  ; 
Der  Zauberer,  melodrama,  ib.,  1827  ;  Die 
Bettlerin,  Konigsberg,  1828 ;  Abu  Kara, 
Leipsie,    1831 ;    Das    Schwiirmermiidchen, 


Conservatorium  there.  He  has  composed 
masses  and  other  church  music,  pianoforte 
jiieces,  and  songs,  and  is  also  an  able  writer 
on  music. — Mendel. 

DORLE,    French  musician   of  the  early 
part  of  the  16th  century.     He  was  the  au- 


1838  ;  Das  Banner  von  England,  Riga, 
1841 ;  Die  Nibelungen,  Weimar,  1854,  his 
most  successful  production  ;  Ein  Tag  in 
Russland,  comic  opera,  1856  ;  Der  Boten- 
liiufer  von  Pirna,  1865  ;  (xcwitter  bei  Son- 
nenschein,  operetta,  1869  ;  Amor's  Macht, 


«7 


DORNROSCIIEN 


ballet,  Leipsic,  1830  ;  Missa  jsro  defunc- 
tis,  performed  at  Berlin  in  1851  ;  Church 
music ;  Cantatas,  symphonies,  songs,  and 
other  pieces  for  orchestra  and  for  p)iano- 
forte. — Dorn,  Aus  meinem  Leben  (Berlin, 
1870,  2  vols.) ;  Mendel ;  Fetis  ;  do.,  Supple- 
ment, i.  278  ;  Eiemann. 

DOKNEOSCHEN,  German  opera,  music 
by  Ferdinand  Lauger,  represented  at  the 
Stadttheater,  Hamburg,  March  18,  188G. 
It  was  conducted  by  the  composer  and  had 
a  signal  success. 

DOROTHY,  comic  ojiera,  music  by  Al- 
fred Cellier,  represented  at  the  Gaiety  The- 
atre, London,  Sej^t.  25,  1886. 

DORS,  CHER  ENFANT.  See  Blariche 
de  Provence. 

DORUS,  VINCENT  JOSEPH  LOUIS 
VAN  STEENKISTE,  called,  born  at  Valen- 
ciennes, March  1,  1812,  still  living,  1888. 
Virtuoso  on  the  flute,  pupil  at  the  Paris 
Conservatoire,  from  1812,  of  Guillou  ;  won 
the  second  prize  in  1826,  and  the  first  in 
1828.  He  was  a  member  of  the  Varietes 
orchestra  iu  1828-30,  and  of  that  of  the 
Opt'ra  in  1831-61  ;  member  of  the  Societe 
des  Concerts  du  Conservatoire,  and  musi- 
cian to  the  Emjseror  ;  succeeded  Tulou  as 
professor  of  the  flute  at  the  Conservatoire, 
in  1858  ;  and  was  first  flute  at  the  Acade- 
mic de  Musique.  Works  :  iSchos  des  la- 
gunes,  solo  pour  flftte  ;  sixteen  airs  varies  ; 
Fautaisies  et  melanges  sur  des  melodies 
de  Donizetti  (Mainz)  ;  Variations  sur  une 
Tyrolieune  de  Weber  ;  Cretly,  valse  Suisse  ; 
Marches  des  chasseurs  de  Lutsow,  with 
Herz  ;  and  other  music. — Fetis  ;  Larousse  ; 
Mendel. 

DOT,  LA  (The  Dowry),  comedy  in  three 
acts,  text  by  Desfontaines,  music  by  Dalay- 
rac,  represented  at  the  Italiens,  Paris,  Nov. 
21,  1785.  The  libretto  is  clever,  and  the 
music  sj)rightly  and  pleasing.  The  over- 
ture is  one  of  the  best  by  the  composer. 

DOT  DE  SUZETTE,  LA  (Suzette's  Dow- 
r}-),  opura-comique  in  one  act,  text  by  De- 
jaure,  from  a  romance  by  Fievee,  music  by 
Boieldieu,  represented  at  the  Theatre  Fa- 


vart,  Paris,  Sept.  6,  1798.  This  little  work 
was  a  success,  having  had  more  than  fifty 
representations.  The  part  of  Suzette  was 
charmingly  sung  by  Madame  Saint-Aubin. 
— Pougin,  Boieldieu.  55. 

DOTZALER,  JUSTUS  JOH.^JNN  FRIED- 
RICH,  born  at 
Hiisselrieth,  near 
H  i  1  d  burghausen, 
Jan.  20,  1783,  died 
in  Dresden,  March 
6,  1860.  Violon- 
cellist, studied  the 
jiianoforte  under 
Heuschkel,  violin 
under  G 1 e  i  c  h  - 
mann,  and  compo- 
sition under  Riittinger,  all  in  Hiklburghau- 
sen,  where  also  Hessner  gave  him  his  first 
violoncello  lessons.  His  love  for  this  in- 
strument caused  him  to  be  sent  to  Meinin- 
gen,  where  he  made  such  progress  under 
Kriegek,  that  he  was  engaged  for  the  court 
orchestra  in  1801-5.  Thence  he  went  to 
Leipsic,  and  in  1806  to  Berlin,  where  Bern- 
hard  Romberg  influenced  him  much.  In 
1811  he  joined  the  royal  orchestra  in  Dres- 
den, and  excei^ting  concert  tours  in  Ger- 
many and  the  Netherlands,  lived  there  until 
his  death,  composing,  playing,  and  teach- 
ing. Among  his  jjupils  were  his  son,  Louis 
Ludwig  Dotzauer,  Karl  Schuberth,  Drechs- 
ler,  and  Kummer.  Works  :  Graziossi,  opera 
performed  at  Dresden  in  1811  ;  Mass  ;  Sym- 
phony ;  Overtures  ;  Duets  and  quartets ; 
Concertos  for  violoncello  and  orchestra  ;  Ex- 
ercises, variations,  sonatas,  and  other  pieces 
for  violoncello  ;  Waltzes  for  pianoforte  ;  and 
an  excellent  violoncello  method. — Allgem. 
d.  Biogi-.,  V.  865  ;  Mendel ;  Fetis;  Grove. 

DOUAY  (Douai),  EMILE,  born  in  Paris 
about  1802,  died  (?).  Dramatic  composer, 
pupil  of  Reicha  in  harmony  and  counter- 
point. When  the  Theatre  du  Gymnase  was 
opened,  in  1822,  he  became  first  violinist, 
and  in  1823  assistant  chef  d'orchestre.  He 
brought  out :  Une  bonne  mere,  opera,  iu 
1822,  and  Une  aventure  de  Faublas,  opera, 


as 


DOUAY 


in  1823.  Ill  ltS27  he  became  solo  violinist  ; 
in  1831  retired  from  that  theatre  aiul  from 
public  life,  and  was  not  heard  of  until  1843, 
when  he  brought  out  au  overture,  Gene- 
vieve des  Bois,  and  a  sj'mphonic  i^oeni.  La 
creation,  la  vie  et  la  destruction,  at  a  con- 
cert hall  in  Paris,  with  his  own  orchestra. 
These  works  were  much  criticised  and, 
though  they  showed  him  to  be  a  clever 
composer,  failed  to  interest  the  general 
public.  He  then  went  to  Germany,  and  on 
his  return  to  Paris  spent  three  years  in 
composing  two  more  orchestral  pieces  with 
chorus  and  solos  :  Christophe  Colomb  and 
La  mer,  ou  une  vols  dans  I'orage,  which 
w^ere  performed  at  the  Salle  Ventadour. 
He  afterwards  brought  out  Jeanne  (d'Arc), 
musical  trilogy  for  full  orchestra,  chorus, 
and  solos,  and  La  chasse  royale,  k'gende  de 
la  Forut  de  Fontainebleau,  with  orchestra, 
chorus,  and  solo.  None  of  these  compo- 
sitions were  successful,  although  they  at- 
tracted much  notice.  He  was  violinist  at 
the  Theatre  Italien,  and  later  wrote  an 
overture,  and  a  symjihony  for  the  concerts 
of  the  Jeunes  Artistes  du  Conservatoire 
under  Pasdeloup,  and  a  musical  Hcro'ide  for 
one  voice  and  orchestra  entitled  Homcre. 
— Fetis,  iii.  50  ;  Supplement,  i.  278  ;  Mendel. 
DOUAY,  GEORGES,  born  in  Paris,  Jan. 
7,  1840,  still  living,  1888.  Amateur  dra- 
matic composer,  ijupil  of  Duprato.  His 
operas  and  musical  sketches  have  been 
jjlayed  at  all  the  minor  theatres  and  cafcs- 
chantants  of  Paris.  Works  :  La  fleur  du 
Val-Suzon,  opera-comique,  played  at  the 
Theatre  Lyrique,  1862 ;  La  barbe  de  Betas- 
son,  Jerome  Pointu,  and  Les  amoureux  de 
Fauchon,  18G1: ;  Les  crepes  de  la  marquise, 
1865  ;  Les  gammes  d'Oscar,  and  Vauuavet 
I'empailleur,  1866  ;  Uu  bureau  de  nourrices, 
and  LY'caillere  africaine,  1867  ;  Un  Merlan 
frit,  Le  double  Pii'ge,  1868  ;  Ce  bon  roi 
Dagobert,  1869  ;  La  premiere  Escarmouche, 
1870  ;  Le  phoque  a  ventre  blanc,  and  Creme 
fouettee,  1871  ;  Le  petit  Vert-Vert,  Le  gar- 
nisaire,  Le  jwmmier  des  amours,  Le  tresor 
de  la   tante   Bechu,    Le  tonueau   de   Mig- 


uoune,  1872  ;  La  tunique  fatale,  1873  ;  Le 
piege,  1874  ;  Le  hanneton  de  la  chatelaine, 
Les  valets  modeles,  Les  mules  de  Suzette, 
Oh  c'  Paladin,  1875  ;  Uu  trio  d'aftames,  Le 
pays  des  bijoux,  1876. — Fetis,  Supplement, 
i.  279. 

DOUBLE  ICPEEUVE,  LA.  See  Colinelte 
a  la  Cour. 

DOUCE  JOUVENCELLE.     See  Zampa. 

DOUELEN,  VICTOR  (CHARLES 
PAUL),  born  at  Dunkirk,  Nov.  3,  1780, 
died  in  Paris,  January,  1864.  Dramatic 
composer,  pupil  at  the  Paris  Conservatoire 
from  1797  ;  studied  the  pianoforte  under 
Moziu,  harmony  under  Catel,  and  counter- 
point under  Gossec,  winning  the  second 
grand  prix  in  1804,  and  the  grand  prix  de 
Rome  in  1805.  Before  leaving  Paris  he 
brought  out  an  opera,  Philocles  ;  and  he  sent 
to  the  Institut,  from  Rome,  in  1808,  a  Dies 
irse.  He  was  assistant  professor  of  harmony 
and  accompaniment  in  1812-16,  and  profes- 
.sor  iu  1816-42.  Works  :  Philocles,  opera- 
comique,  Opera  Comique,  Paris,  1806  ;  Lin- 
nee,  ou  la  mine  de  Suede,  do.,  Theatre  Fey- 
deau,   1808  ;  La  dupe  de  son  art,  do.,  ib., 

1809  ;    Cagliostro    (with    Reicha),    do.,  ib., 

1810  ;  Plus  heureux  que  sage,  do.,  ib.,  1816  ; 
Le  frere  Philippe,  do.,  ib.,  1818  ;  Marini, 
do.,  ib.,  1819  ;  Vente  apri's  deces,  1821  ; 
Le  petit  souper,  1822  ;  Sonatas  for  piano- 
forte op.  1  ;  Fautaisie  sur  la  romance  de 
Belisaire  ;  First  concerto  for  pianoforte,  op. 

3  ;  Trio  for  pianoforte,  violin,  and  bass,  op. 

4  ;  Three  sonatas  with  flute,  op.  9  ;  sonata 
for  four  hands,  op.  10.  He  published  also 
several  didactic  works. — Fetis,  iii.  50 ;  do.. 
Supplement,  i.  279  ;  Mendel. 

DOUTE  DE  LA  LUMlfcRE.  See  Ham- 
let. 

D'OU  VENEZ-VOUS,  MA  CHEEE  ?  See 
Le  Domino  Noir. 

DOVE  SONO.     See  Le  None  di  Figaro. 

DOWLAND,  JOHN,  born  iu  Westmin- 
ster, London,  iu  1562,  died  in  1626.  Lu- 
tist,  one  of  the  musicians  who  harmonized 
the  psalm  tunes  published  by  Este  in  1592. 
In  1584  he  visited  France,  Germany,  and 


449 


DOWLAXD 


Italy  ;  on  bis  return  to  England  he  took, 
in  1588,  the  degree  of  Mus.  Bac.  at  Ox- 
ford, and  in  1592  at  Cambridge.  In  1597 
he  published  the  First  Book  of  Songes 
or  Ayres  of  four  parts,  with  Tableture  for 
the  Lute,  of  which  four  other  editions 
were  published,  in  1600,  1G03,  1608,  and 
1613  ;  and  in  1844  it  was  printed  in  score 
by  the  Musical  Antiquarian  Society.  Soon 
after  its  publication,  he  became  lutist  to 
Christian  IV.,  King  of  Denmark,  and  while 
in  that  country  he  published  :  Second 
Booke  of  Songs  or  Ayres  of  2,  4  and  5  jjarts 
.  .  .  .  Also  an  Excelent  lesson  for  the 
Lute  and  Base  Viol,  called  Dowland's  adew  ; 
for  Master  Oliuer  Cromwell  (London,  1600). 
He  was  still  in  Denmark  in  1602,  and  pub- 
lished :  The  Third  and  last  Booke  of  Songs 
or  Ayres,  etc.  He  returned  to  England  in 
1605,  made  another  visit  to  Denmark,  and 
finally  settled  in  England  in  1609.  In 
1612  he  was  lutist  to  Lord  AValden,  and 
in  1625  one  of  the  six  lutists  in  the  ser- 
vice of  the  king.  Works  :  Lachrynife  or 
Seven  Teares,  figured  in  seaven  passionate 
Pavans,  etc.,  set  forth  for  the  Lute,  Viols 
or  Violins,  in  five  parts  (1605).  The  first 
pavan  of  these  seven  is  the  one  known  as 
Lachrymse,  spoken  of  by  the  dramatists  of 
that  period.  He  piublished  a  translation  of 
Andreas  OruithoparcusV.  treatise,  Micro- 
logus,  in  1609.  A  Pilgrime's  Solace,  wherein 
is  contained  Musicall  Harmonie  of  3,  4  and 
5  parts,  to  be  sung  and  plaid  with  Lute  and 
Viols,  was  published  in  1612.  Shakespeare 
celebi'ates  his  skill  upon  the  lute  in  one  of 
the  sonnets  of  his  "  Passionate  Pilgrim  " 
(1599).— Grove  ;  Mendel ;  Eiemann,  220. 

DOWL.\ND,  ROBERT,  son  of  John 
Dowland,  succeeded  his  father  as  lutist  to 
the  king  in  1626  ;  he  was  living  in  1641, 
and  was  then  one  of  the  musicians  for  the 
Waytes.  He  edited  :  A  Musicall  Bauqvet. 
Furnished  with  varietie  of  Delicious  Ayres, 
Collected  out  of  the  best  Authors  in  English, 
French,  Spanish,  and  Italian,  by  Robert 
Dowland  (1610).  The  authors  alluded  to 
are :    Daniel    Batchelar,    John     Dowland, 


Robert  Hales,  Anthony  Holborne,  and 
Richard  Martin.  He  also  edited  :  Varietie 
of  Lessons  :  viz.,  Fautasie.s,  Pavins,  Gal- 
liards,  Almaines,  Corantoes  and  Volts,  etc. 
Whereuuto  is  annexed  certaine  Observa- 
tions belonging  to  Lute-playing,  by  John 
Baptisto  Besardo  of  Viconti  ;  Also  a  short 
Treatise  thereunto  appertayning,  by  John 
Dowland,  Batchelor  of  Musicke  (1610). 
— Grove  ;  Riemaun,  220. 

DOWN  IN  A  FLOWERY  VALE.  See 
Quando  ritrovo  la  mia  pastorella. 

DOYAGUE,  MANUEL  JOSE,  born  in 
Salamanca,  Spain,  Feb.  17,  1755,  died 
there,  Dec.  IS,  1842.  The  son  of  a  poor 
artisan,  he  became  a  chorister  in  the  cath- 
edral, was  soon  admitted  to  the  free  school 
of  music,  and  in  1781,  when  only  twentj'- 
six  years  old,  succeeded  Don  Juan  ^Martin, 
on  his  retirement,  as  maestro  de  capilla.  He 
was  also  appointed  maestro  of  music  at  the 
university.  He  was  a  priest  and  canon  of 
the  cathedral,  and  spent  the  rest  of  his  life 
in  strict  seclusion,  attending  to  his  duties, 
and  devoting  himself  to  the  composition  of 
music  for  his  own  choir.  So  little  was  he 
known,  that  it  was  not  until  he  was  asked 
to  go  to  Madrid,  to  superintend  the  bring- 
ing out  of  his  own  great  Te  Deum  in  1813, 
that  he  became  famous.  His  mass  for 
eight  voices  and  orchestra,  given  at  Madrid 
in  1830,  excited  universal  enthusiasm  ;  and 
he  was  made,  in  1831,  honorary  maestro  of 
the  Madrid  Conservatorio.  His  master- 
piece was  a  Magnificat  for  eight  voices  with 
orchestra  and  organ.  When  Doyague  died, 
he  was  buried  with  great  pomp  in  Sala- 
manca, and  the  original  of  his  celebrated 
jMaguificat,  enclosed  in  a  leaden  casket,  was 
laid  by  him  in  his  marble  tomb.  Other 
works  :  Magnificat  for  four  voices  and  or- 
chestra ;  a  third  for  eight  voices  and  instru- 
ments in  D  ;  Lamentations  for  Holy  Week  ; 
Three  Miserere  in  E-flat  ;  others  for  four 
voices,  in  P  ;  Solemn  Mass  for  eight  voices, 
orchestra  and  organ,  in  G  ;  Mass  for  four 
voices,  in  F  ;  Two  others  in  A.  Psalms  for 
Vespei's  for  all  festival ;  Office  for  the  dead. 


450 


DliAESEKE 


for  four  voices,  cliorus  and  orchestra  ;  Fimer- 
al  motet  for  four  voices,  with  two  violins, 
viola  and  bass,  in  F  ;  Several  Genitori  ;  a 
great  number  of  psalms,  motets,  villiancicos, 
airs,  duets,  and  quartets  for  church  use,  in 
all  kinds  of  vocal  and  instrumental  com- 
binations.— Fctis ;  Larousse  ;  Mendel. 

DRAESEKE,  FELIX,  born  at  Coburg, 
Gerinanj%  Oct.  7, 
18  3  5,  still  living, 
1888.  Dramatic 
a  n  d  instrumental 
composer,  puj)il  of 
Kietz  at  the  Con- 
servatorium,  Leip- 
sic.  An  enthusias- 
tic disciple  of  Liszt 
at  "Weimar,  he  went 
afterwards  to  Dres- 
den, and  in  18G4- 
74  was  instructor  at  the  Conservatoire  at 
Lausanne,  with  the  inteiTuption  of  one 
year  (18GS-09),  when  he  was  called  to 
Munich  by  von  Biilow  to  teach  at  the  royal 
Conservatorium.  Having  then  for  a  time 
lived  at  Geneva,  he  settled  at  Dresden. 
Both  as  a  composer  and  as  a  writer  on 
music,  he  belongs  to  the  extreme  left.  He 
has  published  a  number  of  pianoforte 
pieces  remarkable  for  rhythmic  and  har- 
monic subtleties.  Works :  Fantasiestiicke 
in  Walzerform,  op.  3  ;  Deux  valses  de  Con- 
cert, op.  4  ;  a  tine  sonata  in  E  major,  op.  6  ; 
several  pieces  for  pianoforte  and  violon- 
cello, a  symphony,  and  some  vocal  com- 
positions, and  an  opera,  Gudrun,  given  in 
Hanover  in  1884.  He  is  an  expounder  of 
the  ideas  of  Wagner  in  musical  reform, 
and  has  written  several  critical  works. 
— Grove  ;  Fetis,  SujJijlcment,  i.  280  ;  Men- 
del ;  Rieniaun 

DRAGHI,  ANTONIO,  born  at  Ferrara, 
Italy,  in  1635,  died  in  Vienna,  Jan.  18, 
1700.  Dramatic  composer.  He  at  first 
wrote  masses  and  motets,  and  produced  his 
first  opera  in  1003.  In  1774  he  was  in- 
vited to  Vienna  as  Hoftheater  Intendant  to 
the  Emperor  Leopold  I.,  and  Kapellmeister 


I  to  the  Emjiress  Leonore,  and  iu  1782  he 
took  up  his  abode  there  for  life.  The 
scores  of  most  of  his  works  are  iu  the  Im- 
perial library,  and  some  in  the  archives  of 
the  Gesellschaft  der  Musikfreunde.  His 
librettos,  some  of  them  illustrated,  werf 
printed  in  the  Imperial  press  by  Cosmerov 
and  have  nearly  all  been  preserved.  Oc- 
casionally he  wrote  librettos  wliicli  were  set 
by  other  composers,  Ziani,  Bertali,  and  even 
the  Emperor  Leopold,  who  composed  the 
complete  opera,  Apollo  deluso.  Works : 
Aronisba,  1663  ;  Alcindo,  Doriclea,  1665  ; 
Muzio  Scevola,  1666  ;  Ercole  acquisitator 
deir  immortalita,  1667  ;  Atalanta,  1669  ; 
Leonida  in  Tegea,  Itide,  Penelope,  La 
prosjierita  d'  Elio,  Segano,  1670  ;  Cidippe, 
L'avidita  di  Mida,  Gara  de  Genni,  1671  ; 
Guudelberga,  La  Sulpizia,  Gli  atomi  d"  Eiji- 
curo,  1672 ;  Provare  per  non  recitare.  La 
Tessalonica,  1673  ;  La  lanterna  di  Diogene, 
II  ratto  delle  Sabine,  II  fuoco  eterno  custo- 
dito  dalle  Vestali,  1674  ;  Pirro,  I  pazzi  Ab- 
deriti,  1675 ;  Lucrezia,  Seleueo,  1676  ;  II 
silenzio  d'  Ai-pocrate,  Adriano  sul  monte 
Casio,  Chelonida,  Rodogeue,  1677  ;  La  con- 
quista  del  vello  d'  oro,  Creso,  Enea  iu  Italia, 
Leucippe,  La  monarchia  latiua  trionfante, 
II  tempio  di  Diana  in  Taurica,  II  vincitor 
magnanimo  in  Tito  Quinto,  1678  ;  Flaminio, 
Baldracca,  1679  ;  Ija  pazienza  di  Soerate 
con  due  mogli,  1680  ;  II  Temistoele,  Achille 
in  Tessalia,  La  forza  dell'  amicizia,  1681 ; 
Gli   stratagemmi   di   Bionte,    La    chimera, 

1682  ;  La  lira  d'  Orfeo,  II  palladio  in  Roma, 

1683  ;  La  piii  generosa  Spartana,  Le  nere 
azioni  di  Temise,  II  risorgimento  della 
ruota  della  fortuna,  1685 ;  Le  scioccag- 
giui  degli  Psilli,  Lo  studio  d'  amore,  1686  ; 
La  vendetta  dell'  onesta,  La  vittoria  della 
fortezza,  1687  ;  II  marito  ama  piti,  la  moglie 
ama  meglio,  Tanasio,  1688  ;  I  Pianeti  be- 
nigui,  Pimmalione  in  Cipro,  Rosaura,  1GS9  ; 
La  regina  de'  Volsci,  II  ringiovenito,  II 
tributo  de'  Sari,  La  varieta  di  fortuna  in 
Lucio  Giunio  Bruto,  II  merito  uniforma  i 
geni,  1691  ;  Fedelta  e  generosita,  1692 ; 
Amore  in   sogno,   Le  piante   della  virtii  e 


461 


DRAGHI 


della  fortuua,  Le  piu  ricclie  gemme,  1693  ; 
Pelopida  Tebano  iu  Tessaglia,  L'  ossequio 
della  poesia  e  della  storia,  Le  sere  dell' 
Aventino,  1094  ;  La  ebioma  di  Berenice, 
La  finta  cecita  d'  Antioco  grande,  Industrie 
aiuorose  de'  ragazze  di  Trazia,  1695  ;  Mag- 
uianimita  di  Fabrizio,  La  tirannide  abbatuta 
dalla  virtti,  Adalberto,  ovvero  la  forza  dell' 
astuzie  femiiiili,  Amor  per  virtii,  Le  pira- 
midi  d'  Egitto,  1697 ;  Arbace,  foudatore 
deir  impero  de'  Parti,  Delizioso  ritiro  di 
LucuUo,  Idea  del  felice  governo,  1698  ;  Le 
fiuezze  deir  amicizia  e  deU'  onore,  L'  AI- 


aff^9^^ 


ceste,  1699.  He  wrote  in  all  eighty-seven 
ojoeras,  as  many  feste  teatrali  and  serenades, 
and  thirty-two  oratorios. — Fotis  ;  Grove  ; 
Mendel. 

DKAGHI,  GIOVANNI  BAPTISTA,  an 
Italian  musician,  supposed  to  have  been  a 
brother  of  Antonio  Draghi,  who  settled  in 
London  about  the  middle  of  the  17th  cen- 
tury. He  excelled  on  the  harpsichord,  and 
so  completely  adopted  the  English  style  of 
composition  that  he  is  regarded  as  an  Eng- 
lish composer.  The  earliest  notice  of  him 
is  in  Pepys's  Diary,  under  the  date,  Feb. 
12,  1667.  Pepys  heard  him  sing  at  Lord 
Bourncker's  house,  an  act  of  an  Italian  opera 
which  he  had  written  at  the  instance  of 
Thomas  Killigrew,  but  it  is  doubtful  whether 
this  opera  was  ever  produced  iu  public, 
though  Draghi  lived  to  see  the  introduc- 
tion of  Italian  ojjera  into  England  at  the 
beginning  of  the  following  century.  He 
was  music-master  to  Queen  Anne,  and  pro- 
bably also  to  her  elder  sister.  Queen  Mary. 
Works  :  Act  tunes  and  other  instrumental 
music  for  Shadwell's  opera  of  Psyche,  1675, 
the  rest  of  the  music  being  composed  by 
Matthew  Lock,  whom  Draghi  succeeded,  in 
1077,  as  organist  to  Catherine  of  Braganza, 
wife  of  Charles  H. ;  music  for  Dryden's  ode 
beginning,  "  From  Harmony,  from  heavenly 


Harmony,"  for  the  celebration  of  St.  Ceci- 
lia's Day  in  1687  ;  jjart  of  the  music  to 
D'Urfey's  comic  opera,  Wonders  in  the  Sun, 
or,  the  Kingdom  of  the  Birds,  1706.  Many 
songs  by  him  are  found  in  the  collections 
of  the  daj'. — Grove  ;  Fetis  ;  Mendel. 

DRAGON  OF  WANTLEY,  THE,  Eng- 
lish burlesque  opera,  text  by  Henry  Carey, 
music  by  John  Frederick  Lampe,  rep- 
resented at  Covent  Garden,  London,  in 
1737.  Subject  from  the  old  ballad  of  the 
same  name  (Percy's  Eelique.s,  IX.  13),  in 
which  the  hero  is  More  of  More-Hall,  made 
by  Carey  into 
Moore  of  Moore- 
hall.  It  is  an  ad- 
mirable burlesque 
of  Italian  opera, 
especially  of  Handel's  Giustino,  which  had 
just  appeared,  with  its  dragons  vomiting 
fire,  and  fantastic  animals,  and  it  had  a  suc- 
cess not  inferior  to  that  of  the  Beggar's 
Opera.  In  1738  Carey  brought  out  at  Cov- 
ent Garden  a  sequel  to  it,  entitled  Margery. 
—Hogarth,  ii.  73. 

DRAGONETTI,    DOMENICO,    born   iu 
Venice,    April, 


1755,  died  in 
Loudon,  April  16, 
1840.  Double- 
bass  plaj-er,  sou 
of  a  poor  musi- 
cian. He  taught 
himself  the 
guitar  and  the 
violin,  and  was 
able  to  take  a 
place  in  an  orchestra  when  eleven  j'ears  old. 
He  studied  next  under  Berini,  double-bass 
player  in  S.  Marco  and  the  best  master  in 
Venice,  who,  after  giving  him  eleven  lessons, 
said  there  was  nothing  more  to  teach  uim. 
When  thirteen  years  old  he  was  admitted 
to  the  orchestra  of  the  Opera  Buffa,  and  a 
year  later  to  the  Opera  Seria.  In  his  eigh- 
teenth year  he  was  appointed  to  the  post 
in  the  choir  of  S.  Marco,  hitherto  filled  by 
Berini,  who  persuaded  him    to   accept   it. 


452 


DRAGON  I 


At  this  time  he  composed  concertos,  so- 
uat.as,  solos,  etc.,  iu  ■which  lie  played  pai'ts 
which  no  one  else  could  master.  While 
playing  iu  Vicenza  he  discovered  a  mar- 
vellous double-bass,  from  which  he  never 
again  parted,  and  which  he  bequeathed  at 
his  death  to  the  vestry  of  S.  Marco,  an  in- 
strument made  by  Gasparo  di  Salo,  master 
of  the  Aniati,  find  which  had  belonged  to 
the  convent  of  S.  Pietro.  Iu  1794  he  ap- 
peared iu  London  at  the  Opera  and  at  the 
King's  Theatre,  and  excited  universal  aston- 
ishment at  the  force  aud  expression  of  his 
playing,  and  his  power  of  reading  at  sight. 
There  he  became  intimate  with  Robert 
Lindley,  the  violoncellist,  whose  insepar- 
able compauion  he  was  for  fifty-two  years, 
l)laying  at  the  same  desk  with  him  at  the 
Opera,  the  Antient  Concerts,  the  Philhar- 
monic, the  Provincial  Festivals,  etc.  Soon 
after  bis  arrival  in  London,  Dragonetti  met 
Haydn,  with  whom  he  became  intimate  ;  on 
his  way  to  Italy,  in  1798,  he  visited  that 
great  master  iu  Vienna.  In  1808  and  1809, 
he  was  in  Vienna,  but  from  caprice,  would 
play  before  no  one  but  the  family  of  Prince 
Starhemberg,  in  whose  palace  he  lived,  and 
where  he  made  the  acquaintance  of  Bee- 
thoven, and  of  Sechter,  afterwards  court 
organist.  In  181.5,  when  ninety  years  old, 
he  headed  the  double-basses,  thirteen  in 
number,  at  the  Beethoven  Festival  at  Bonn. 
He  left  but  few  works.  Three  canzonets 
with  Italian  words,  written  during  his  staj- 
in  Vienna,  are  iu  a  collection  of  xxxiv.  Can- 
zonette  e  Romanzie  by  various  composers, 
dedicated  to  the  Archduke  Rodolph,  Bee- 
thoven's friend  and  pupil.  He  left  182 
volumes  of  scores  of  classical  oi^eras  to  the 
British  Museum.— F.  CatB,  Vita  di  D.  Drago- 
netti (Venice),  184G  ;  Fctis  ;  Grove  ;  Mendel ; 
Riemanu. 

DRAGONI,  GIOVANNI  ANDREA,  born 
at  Meldola,  Pontifical  States,  about  1.540, 
died  in  Rome,  December,  1598.  One  of  the 
best  contrapuntists  of  the  Roman  school, 
pupil  of  Palestriua,  and  maestro  di  cappella 
of  S.  Giovanni  iu  Laterano,  from  1570  to 


his  death.  Works  :  Madrigali  a  cinque  voci 
(Veuice,  1575)  ;  do.  (ib.,  1579)  ;  do.  (ib., 
1594)  ;  Madrigali  a  sei  voci  (ib.,  1583)  ; 
Vilanelle  a  cinque  voci  (ib.,  1588)  ;  Motetti 
per  tutti  i  santi  dell'  anno,  a  cinque  voci 
(ib.,  1578)  ;  Motetti  a  tre  voci  (ib.,  1580)  ; 
Madrigali  a  sei  voci,  Motetti  a  cinque  voci 
(Rome,  1600).  In  the  Santini  Collection, 
Rome  :  Three  Benedictus  for  8  voices.  Dixit 
for  7  voices,  and  a  mass  for  4  voices  iu 
canon. — Fetis  ;  Mendel. 

DRAMATISCHE  SYMPHONIE  (Dra- 
matic Symphony),  in  D  minor,  for  grand 
orchestra,  by  Anton  Rubinstein,  op.  95. 
Dedicated  to  Otto  Dessoti'.  Edited  and 
published  by  Bartholf  Senff  (Leipsic). 

DRECHSLER,  JOSEF,  born  at  Vlachovo 
Bfezi  (Wallisch-Birkcu),  Bohemia,  May  2G, 
1782,  died  iu  Vienna,  Feb.  27,  1852.  Dra- 
matic composer,  first  instructed  by  his 
father,  then  pupil  in  thorough-bags  aud 
counterpoint  of  the  famous  organist  Gro- 
tius  at  the  Benedictine  monastery  of  Floreu- 
bach.  In  1807  he  went  to  Vienna,  found 
employment  at  the  imperial  Ojiera  in  1810, 
and  was  made  Kapellmeister  adjunct  iu 
1812  ;  having  afterwards  filled  positions  as 
conductor  at  the  theatres  of  Baden  and 
Pressburg,  he  became  organist  at  the  Serv- 
ites  iu  Vienna,  where  in  1815  he  opened  a 
music  school,  and  gratuitously  taught  the 
organ  and  thorough-bass.  Iu  1816  he  be- 
came Regens  chori  at  St.  Ann's,  iu  1823 
Kapellmeister  at  the  University  church,  and 
at  the  jmrish  church  am  Hof,  and  in  1844 
succeeded  Giinsbacher  at  St.  Stephen's  ca- 
thedral, in  the  same  capacity.  From  1822 
to  1830  he  was  also  Kapellmeister  at  the 
Leopoldstildter  Theater.  Works — Operas  : 
Claudine  von  Villabella,  given  in  Vienna 
about  1830  ;  Der  Zauberkorb  ;  Pauline  ; 
Die  Schauernacht ;  Die  Feldmiihle ;  Con- 
tine.  Operettas  and  vaudevilles-:  Ydor ; 
Der  Diamaut  des  GeisterkiJnigs ;  Gisf)erl 
und  Fisperl ;  Das  Madchen  aus  der  Feen- 
welt ;  Der  Berggeist  ;  Capricciosa  ;  Die 
Girafi'e  ;  Das  griine  Manncheu  :  Oscar  und 
Tina  ;  Lisko  und  Saldino  ;  Die  Schlangen- 


DllEI 


konigin  ;  Sylpliide  ;  Der  Tauseutlsassa  ; 
Das  Yergissiueiiniiclit  ;  Die  "Wiener  iu  Bag- 
dad ;  Die  "WOltiu  um  Mitteruacbt ;  Die 
Wunderbrille  ;  Der  Zauberscblaf  ;  Friibliug, 
Sommer,  Herbst  uud  Wiuter  ;  Der  "Wun- 
derdoctor ;  Cabale  imd  Liebe,  etc.  Sev- 
eral 23automimes ;  3  grand  cantatas ;  10 
masses ;  Keqniem  ;  Offertories  and  gradu- 
als ;  Quartets  for  strings;  Sonatas  for  pi- 
anoforte ;  Variations,  rondos,  marches,  and 
dances  for  do.  ;  Fugues  for  the  organ ; 
Songs  ;  Method  for  the  organ  ;  Treatise  on 
harmony.  —  F  e  t  i  s  ;  Mendel  ;  Schilling  ; 
Wurzbach. 

DREI  PINTOS,  DIE,  opera  in  three  acts, 
by  Carl  Maria  vou  Weber,  written  about 
1821,  left  unfinished  ;  completed  from  the 
comjDoser's  sketches  by  G.  Mahler,  and  rep- 
resented at  the  Stadttheater,  Leijssic,  Jan. 
20,  1888.  The  first  and  the  third  acts  were 
enthusiastically  received,  but  the  second 
was  not  so  successful.  The  management 
of  the  theatre  is  said  to  have  paid  20,000 
marks  for  the  MS.— N.  Zeitschr,  f.  Mus. 
(1887),  1:71  ;  (1888)  5,  20,  32,  44,  53,  G.5  ; 
Siguale  (1888),  113. 

DRESE,  ADA:M,  born  probably  in  "Wei- 
mar, iu  1620,  died  in  Arnstadt,  Feb.  15, 
1701.  In  his  youth  he  was  sent  by  "Wilhelm 
IV.,  Duke  of  "Weimar,  to  "Warsaw  to  study 
composition  under  JIarco  Saechi,  and  on 
his  return  became  Kapellmeister  at  Wei- 
mar. When  his  patron  died,  in  1662,  lie  ac- 
cepted a  similar  position  in  Jena,  and  was 
also  secretary  of  the  chamber  to  Duke  Bern- 
hard.  In  16G7  he  left  Jena,  but  ajipeared 
there  again  in  later  years,  and  iu  1683  be- 
came Kapellmeister  iu  Arnstadt.  Worldly- 
minded  in  youth,  he  was  drawn  toward 
pietism  later  by  Spener's  works.  Es2ie- 
cially  notable  was  his  musical  treatment  of 
the  recitative.  W^orks  :  Operas  whose  titles 
even  are  now  unknown  ;  Hymns  and  cho- 
rals, fourteen  of  which  are  in  Georg  Neu- 
mark's  Fortgeisflanzter  musikalisch-poeti- 
scher  Wald  (Jena,  1657)  ;  Pianoforte  suites, 
sonatas,  and  church  music,  besides  a  work 
ou   composition  ;  all  now  lost. — Allgem.  d. 


Biogr.,  V.  397  ;  Fetis  ;  Mendel ;  Winter- 
fekl,  Der  evang.  Kirchengesang,  ii.  603 ; 
Spitta,  J.  S.  Bach,  i.  1G2  (English  ed.,  164). 

DEESEL,  OTTO,  born  at  Andernaeh,  on 
the  Ehine,  in  1826,  still  living,  1888. 
After  studying  under  Hiller  at  Cologne,  and 
Mendelssohn  at  Leipsic,  he  went  to  New 
York  in  1848,  as  a  concert  pianist  and 
teacher,  but  returned  to  Germany  after  a 
year  or  two.  In  1852  he  went  to  Boston, 
IMass.,  where  he  has  resided  ever  since,  with 
the  excei^tion  of  a  few  visits  to  Germanj'. 
He  was  for  some  time  the  leading  i^ianist 
in  Boston,  but  he  withdrew  from  the  con- 
cert-room about  1868,  and  gave  up  teaching 
a  few  years  later.  For  a  man  of  his  excep- 
tionallj-  fine  musical  instincts  and  culture 
he  has  composed  comparatively  little,  but 
his  influence  upon  music  in  Boston,  always 
exerted  in  furthering  the  cause  of  the  great 
classic  masters,  and  especially  Mendelssohn, 
Schumann,  Chopin,  and  Robert  Franz,  has 
been  ver\-  strong.  He  has  long  been  a  co- 
worker with  Franz  iu  writing  additional 
accompaniments  to  the  scores  of  Bach  and 
Handel.  His  2:)ianoforte  score  of  Handel's 
Messiah,  arranged  from  Franz's  completed 
score  (Leijjsic,  Kistner),  is  in  every  resjsect 
a  model.  His  published  works  are  few  : 
G  songs  with  pianoforte,  op.  3  (Leipsic, 
Breitkopf  &  Hiirtel)  ;  Songs  and  fugitive 
l^ianoforte  pieces,  among  which  are  tran- 
scriptions of  songs  by  Franz.  The  follow- 
ing works,  still  in  MS.,  have  been  performed 
iu  Boston  :  Trio  for  j^ianoforte,  violin,  and 
violoncello ;  Quartet  for  pianoforte  and 
strings  ;  Army  Hj'mn  for  solo,  chorus  and 
orchestra,  to  words  by  Oliver  Wendell 
Holmes,  given  iu  the  Music  Hall  at  the 
jubilee  concert  iu  celebration  of  President 
Lincoln's  emancipation  proclamation,  Jan. 
1,  1863  ;  In  Memoriam,  ballad  for  sojjrano 
and  orchestra,  to  Longfellow's  ver.ses  on  the 
fiftieth  birthday  of  Louis  Agassiz,  ib.,  Jan. 
29,  1874. 

DRESLER  (Dreslerus),  G.iLLUS,  born 
at  Nebra,  Thuringia,  about  1535.  He  suc- 
ceeded Martin  Agricola  as  cantor  iu  ]\Iagde- 


454 


DRESSLEIl 


bm-n-  about  1558,  and  from  15G(5  was  deacon  ' 
of  the  Nicolaikirclie  in  Zerbst.  Works  : 
Cantiones  sacriB  (Wittenberg,  15GS  ;  Magde- 
burg, 1569,  1570,  1577  ;  Nuremberg,  1574, 
1577) ;  Auserlesene  teutselie  Lieder  (Magde- 
burg, 1570;  Nuremberg,  1575,  15S0) ;  Ele- 
menta  musicse  practicce  (Magdeburg,  1571, 
1584).— Allgem.  d.  Biogr. ;  Mendel  ;  Fctis ; 
Wluterfeld,  Der  evang.  Kircbengesang,  i. 
341. 

DRESSLER,  R.\PH.VEL,  born  in  Gratz, 
about  1784,  died  in  Mainz,  Feb.  12,  1835. 
While  a  youth  be  played  the  flate  extremely 
well,  and  in  1809  became  first  flute  of  the 
Viemia  Kiirnthnerthor  Theater.  He  had  the 
same  position  in  the  Hanover  royal  orches- 
tra in  1817,  and  lived  in  England  as  vir- 
tuoso and  teacher  in  1820-34.  Works ; 
about  a  hundred  compositions  for  the  flute, 
with  and  without  accompaniment,  consisting 
of  duets,  trios,  quartets,  concertos,  capriccios, 
variations,  and  studies,  about  seventy  of 
which  were  published.  He  was  the  author 
also  of  a  treatise  on  the  flute,  which  has 
been  translated  into  English,  and  other 
works. — Mendel ;  Fetis. 

DREUILH,  J J ,  born  in  Bor- 
deaux in  1773,  died  at  Niort  in  1858.  Vio- 
linist, pupil  of  the  free  school  of  the  Cathe- 
dral of  Bordeaux  in  1781,  studied  harmony 
under  Giraud,  a  pupil  of  Rameau,  and 
counterpoint  and  fugue  under  Fran(;ois 
Beck,  who  also  taught  him  the  violin.  In 
1790  he  succeeded  Giraud  as  maitre  de 
cliapelle,  and  brought  out  a  Te  Deum  for 
the  Fete  de  la  Federation,  the  IMS.  of  which 
is  now  owned  by  the  Cathedral.  After 
serving  in  the  army  from  1792  to  1794,  he 
succeeded  Fran(;ois  Beck  as  conductor  of 
orchestra  at  the  Grand  Theatre,  Bordeaux. 
Later  he  became  leader  of  the  orchestra  in 
the  Theatre  de  la  Cite,  Paris,  and  brought 
out  there  an  opera-comique,  Le  point  d'hon- 
eur,  in  1802.  la  1804  he  became  chef 
d'orchestre  of  the  Grand  Theatre  at  Marseil- 
les, and  brought  out  Valaski  et  Oplu'lie,  ou 
le  passage  de  I'hermitage,  opera-comicjue. 
He  returned  to  Paris,  desirous  of  composing 


for  the  Opera,  but  instead  had  to  write  the 
music  for  dramas  and  pantonnines,  among 
others.  La  nouvelle  Jeanne  d'Arc,  Sophie  et 
Linska,  etc. — Fetis,  Supplement,  i.  280. 

DREYER,  JOHANN  aiELCHIOR,  boru 
at  Ellwaugen,  Wiirtemberg,  about  17G5, 
died  there,  beginning  of  this  century.  He 
was  organist  of  the  cathedral  in  his  native 
place.  His  compositions  were  known  to 
the  Catholic  choirs  of  Southern  German}- 
long  after  his  death.  Works :  Numerous 
masses  ;  28  vespers  ;  24  hymns  ;  Sympho- 
nies, offertories,  organ  sonatas,  and  other 
church  music. — Fetis  ;  Mendel. 

DREYSCHOCK,  ALEXANDER,  born  at 
Zack,  Bohemia, 
Oct.  15, 1818,  died 
in  Vienna,  April  1, 
1869.  Pianist,  pu- 
pil at  Prague  of 
Tomaschek.  He 
became  a  distin- 
guished performer 
of  great  mechanical 
ability,  and  trav- 
elled professionally 
for  twenty  years  throughout  Europe,  play- 
ing principally  his  own  music.  In  1862  he 
became  a  professor  at  the  Conservatory  of 
St.  Petersburg,  director  of  the  imperial 
school  for  theatrical  music,  and  pianist  to 
the  emperor,  and  was  at  the  same  time 
Kapellmeister  to  the  Grand  Duke  of  Hesse- 
Darmstadt.  His  health  failing,  he  was  sent 
in  1868  to  Italy,  where  he  died.  His  works, 
chiefly  salon  music,  consist  of  140  piano- 
forte pieces,  rondeaux  militaires,  sonatas, 
nocturnes,  songs  without  words,  etc.;  a 
string  quartet,  and  a  grand  ouverture 
(Prague).  His  brother,  Raymuud  Drey- 
schock  (1824-69),  was  a  violinist.— Allgem. 
d.  Biogr.,  V.  408  ;  Grove  ;  Fetis,  iii.  59  ;  do., 
Supplement,  i.  281  ;  Mendel  ;  Wurzbach, 
iii.  382. 

DRIEBERG,  FRIEDRICH  (JOHANN) 
VON,  born  at  Chai-lottenburg,  near  Berlin, 
Dec.  20,  1780,  died  there,  May  21,  1856. 
He  left  the  army  in  1804  to  study  music  for 


455 


DEOBI8CII 


five  yeai-s  iu  Paris  uucler  Si^ontini,  and  jsrob- 
ablj'  also  uuder  Cherubiui.  He  was  amoug 
the  first  to  take  ujj  the  study  of  ancient 
Greek  music,  and  though  Chladni  and 
Perne  disputed  his  views,  Fetis  called  him 
a  writer  of  romance  instead  of  history,  and 
many  of  his  oijiuions  have  since  been 
proved  false,  he  deserves  credit  for  awak- 
ening interest  in  an  almost  forgotten  sub- 
ject. His  last  and  unpublished  opera  was 
an  application  of  his  studies  on  Greek  mu- 
sic. Works :  Don  Cocagno,  opera,  jjer- 
formed  iu  Berlin  in  1812  ;  Der  Sanger  und 
der  Schneider,  opera,  Berlin,  1814-26  ;  Al- 
fons  von  Castilien,  iu  !XIS. ;  a  farce  and  two 
comic  operas  unjKiblished,  besides  songs 
and  instrumental  25ieces.  Among  his  crit- 
ical writings  are,  "  Auf schliisse  fiber  die 
Musik  der  Griechen "  (Leii^sic,  1819)  ; 
"  Wiirterbuch  der  griechischeu  Musik" 
(Berlin,  1835) ;  and  other  writings  on  Greek 
music. — Allgem.  d.  Biogr.,  v.  410  ;  'Sleu- 
del ;  Fotis  ;  Riemaun. 

DROBISCH,  KAHh  LITDMIG,  born  in 
Leipsic,  Dec.  24,  1803,  died  in  Augsburg, 
Aug.  20,  1854.  He  studied  music  bj-  him- 
self while  at  school  iu  Grimma,  and  com- 
jjosed  a  cantata,  operetta,  and  other  little 
pieces,  and  studied  composition  at  Leipsic 
iu  1821,  under  J.  A.  Drobs  and  Weiulig. 
His  first  oratorio  was  performed  at  a  Ge- 
wandhaus  concert  in  1820,  with  little  suc- 
cess. He  remained  several  years  in  ^Munich, 
where  he  studied  in  the  libraries  and  was  a 
friend  of  Ett.  In  1837  he  became  musical 
director  of  the  Church  of  St.  Anna  in  Augs- 
burg, but  soou  gave  up  the  place  to  de- 
vote himself  to  composition  and  teaching. 
Works :  Bonifacius,  oratorio  ;  Eighteen  mas- 
ses ;  Six  graduals  ;  Six  offertories ;  Three 
litanies ;  Three  Requiems ;  Motets,  and  other 
church  music,  altogether  more  than  a  hun- 
dred compositions. — Allgem.  d.  Biogi\,  v. 
412  ;  FfHis,  Gl  ;   !Mendel ;  Riemann. 

DROBS,  JOH.VNN  ANDREAS,  born  near 
Erfurt  in  1784,  died  at  Leipsic,  May  4,  1825. 
Organist,  first  instructed  by  his  father,  then 
mainly    self-taught ;    in    1808   he   went    to 


Leijisic,  and  became  organist  at  St.  Peter's 
iu  1810.  He  was  much  sought  after  as  a 
teacher,  and  composed  meritorious  works 
for  the  organ  and  the  pianoforte,  compris- 
ing sonatas,  fugues,  preludes,  etc. — Fetis. 

DROLLIXG,  JEAN  iHCHEL,  born  at 
Turekheim  (Haut-Rhin),  in  179G,  died  in 
Paris  in  1839.  Pianist,  pupil  at  the  Paris 
Conservatoire  under  Adam  for  pianoforte, 
and  Muhul  for  comjjosition.  Works  : 
Themes  varies,  op.  1,  2  ;  Di  tanti  palpiti, 
varie  pour  piano  et  violou,  op.  3  ;  Caprices 
for  pianoforte  oj).  4  and  14  ;  Fantaisies, 
idem,  op.  15  and  20  ;  Rondeau  pastoral,  op. 
19  ;  Duos  for  pianoforte  for  foiu-  hands,  op.  5 
and  17  ;  Duos  for  pianoforte  and  violin,  op. 
11,  12,  and  22  (Paris) ;  etc.  He  left  a  Traito 
elementaire  d'harmouie  et  de  composition, 
iu  MS. — Fetis  ;  Mendel. 

DROUET,  LOOS  (FRANCOIS  PHI- 
LIPPE), born  in  Amsterdam  in  1792,  died 
at  Berne,  Sept.  30,  1873.  Flute  player,  pu- 
pil at  the  Paris  Conservatou'e  ;  jslayed  there 
and  at  the  Opera  when  only  seven  years  old. 
From  1807  to  1810  he  was  teacher  to  King 
Louis  of  Holland,  and  is  sujjposed  to  have 
helped  Queeu  Hortense  write  the  French 
national  air  "  Partant  j)our  la  Syrie."  Iu 
1811  he  was  appointed  solo  flute  to  Napo- 
leon, and  he  held  the  same  position  to  Louis 
XVIII.  In  1815  he  went  to  London,  and 
appeareti  at  the  Philharmonic  in  181G,  and 
this  was  the  beginning  of  a  long  profes- 
sional tour  through  Europe.  In  1836-54 
was  Kapellmeister  at  the  court  of  Saxe- 
Coburg,  after  which  he  visited  America, 
Works  :  3  waltzes  for  two  flutes,  op.  24  ;  3 
trios  for  three  flutes,  op.  38 ;  fantasia  for 
j)ianoforte  and  flute,  op.  36  ;  do.,  op.  37  ; 
10  concertos,  variations,  duets,  etc.,  com- 
prising more  than  a  hundred  and  fifty 
works. — Allgem.  d.  Biogr.,  v.  434  ;  Fetis ; 
do.,  Supjolemeut,  i.  281  ;  Mendel,  iii.  257, 
Ergi'mz.,  92  ;  Riemann. 

DRUIDS'  CHORUS,  THE,  cantata  for 
male  voices,  text  by  Kiunersley  Lewis,  mu- 
sic by  Joseph  Parry,  first  given  in  Wales, 
1888.      Subject,    the   attack  by   Suetonius 


456 


DRUZECUY 


Paulinus  on  the  Druids  of  Mona,  who  are 
surprised  at  their  devotions  in  the  temple 
of  Keridwen. 

DKUZECHY  (Druschetzky),  GEOEG, 
born  about  the  middle  of  the  18th  century. 
He  was  in  the  service  of  Count  Grassalko- 
vicz  in  Presburg-  in  1787,  and  was  consid- 
ered the  greatest  player  on  the  kettle-drum 
in  his  time.  "Works  :  Andromeda  iiiid  Per- 
seus, opera-ballet,  about  1787  ;  lukle  vmd 
Yariko,  do.  ;  Battle  symphony  for  two  or- 
chestras ;  Pieces  for  wind  instruments. 
— Fotis  ;  JMendel. 

DUB.YRROIS,    ,    French   composer, 

lived  at  the  close  of  the  18th  century.  He 
wrote  the  music  of  two  operas-comiques  : 
Lolotte  et  Fanfan,  produced  in  Paris,  Feb. 
28,  1803,  and  Les  faux  parents,  ib.,  Aug. 
27,  1803.— F6tis,  Suppli'nient,  i.  282. 

DUBOIS,  (CLEMENT  FRANgOIS) 
THEODORE,  born  at  Rosuay  (Marne), 
Aug.  2-4,  1837,  still  living,  1888.  Dramatic 
and  instrumental  composer,  pupil  at  the 
Paris  Conservatoire  of  Marmontel  on  the 
jjianoforte,  of  Bazin  in  harmony  and  accom- 
paniment, of  Benoist  on  the  organ,  and  of 
Ambroise  Thomas  in  fugue  and  composition. 
He  won  prizes  in  185.5,  185G,  1857,  1858, 
and  1859,  and  the  grand  i^rix  de  Rome  in 
1861.  He  sent  from  Rome  a  mass  and  a 
first  overture  ;  a  second  concert  overture 
which  was  played  at  a  Conservatoire  con- 
cert in  ISGf).  Dubois  returned  to  France 
in  18GG,  began  ieaching,  and  became  maitre 
de  chapelle,  first  at  the  church  of  Sainte- 
Clotilde,  then  at  the  Madeleine,  and  in  1871 
professor  of  harmony  at  the  Conservatoire 
and  organist  at  the  Madeleine.  "Works — 
Operas  :  La  fiancee  d'Abydos  (18G1:)  ;  Flor- 
entin  (1867)  ;  La  guzla  de  I'l'mir,  comic  op- 
era, given  at  the  Th(';itre  Lyrique,  1873  ;  Le 
jjain  bis,  do.,  Opera  Comique,  1879  ;  Aben- 
hamet.  Opera,  1884 ;  Les  sept  paroles  du 
Christ,  oratorio,  Sainte-Clotilde,  1867  ;  Le 
Paradis  perdu,  do..  Theatre  Lyrique,  1878  ; 
Deus  Abraham,  religious  chorus  with  soli ; 
Tu  es  Petrus,  motet  ;  Concert  overture  ; 
Symphonic   overture  ;    Frithjof    overture  ; 


Several  suites  for  orchestra :  Concerto  for 
pianoforte  ;  Douze  petites  pieces  for  do. ; 
Chceur  et  danse  des  lutins,  op.  7  ;  Marche 
orientale,  op.  8  ;  Scherzo,  op.  10  ;  Bluette 
pastorale,  op.  11  ;  Reverie-prelude,  op.  12  ; 
Allegro  de  bravoure,  op.  12  ;  Scherzo  et 
chorale,  op.  18  ;  Divertissement,  op.  19  ;  In- 
termezzo, op.  20  ;  other  pieces  for  piano- 
forte, and  songs. — Fetis,  Supplement,  i. 
283  ;  Riemann. 

DUC  D'ALBE,  LE,  French  opera,  text 
by  Scribe,  music  by  Donizetti,  represented 
at  Barcelona,  1882  ;  later  produced  with 
some  eclat  in  Italy.  The  libretto,  founded 
on  the  life  of  the  famous  Duke  of  Alva,  was 
written  for  Rossini,  but  was  returned  to  its 
author  when  that  composer  determined, 
after  William  Tell,  to  write  no  more  for  the 
dramatic  stage.  The  work,  written  before 
1840,  was  never  produced  during  the  life 
of  Donizetti,  who  transferred  some  of  its 
most  effective  numbers  to  later  operas, 
among  them  the  celebrated  tenor  romanza, 
"  Ange  si  pur,"  or  "  Spirto  gentil "  in  its 
Italian  form,  now  in  the  fourth  act  of  La 
favorite. 

DUC  D'OLONNE,  LE,  opera-comique  in 
three  acts,  text  by  Scribe  and  Saintine,  mu- 
sic by  Auber,  represented  at  the  Of)era  Co- 
mique, Paris,  Feb.  4,  1842.  The  libretto  is 
full  of  absurdities,  but  the  music  is  among 
the  best  of  Auber's  compositions.  The 
phrase,  "  0  France,  O  ma  patrie  !  '  in  the 
second  act,  is  one  of  his  finest  inspirations. 

DUC,  PHILIPPE  DE,  Netherlands  com- 
poser, lived  in  the  second  half  of  the  IGth 
century.  He  seems  to  have  settled  in  Italy. 
"\'\'orks  :  Madrigali  a  quattro  voci,  con  una 
serenata  e  uu  dialogo  a  otto  (Venice,  1570)  ; 
Madrigali  a  cinque  et  sei  voci  (ib.,  1586) ;  II 
primo  libro  de'  Madrigali,  a  4,  5,  e  6  voci 
(ib.,  1595);  Le  "Vergini,  a  sei  voci,  con  uu 
dialogo  a  otto  nel  fine,  novamente  composti, 
libro  primo  (Venice.  1574). — Fetis  ;  Mendel. 

DUCASSI  Y  OJEDA,  IGNACIO,  born 
in  Barcelona,  Jan.  18,  1775,  died  in  Madrid 
in  1824.  Priest  and  maestro  de  capilla  of  the 
Chui-ch  of  the  Incarnation,  at  Madrid.    His 


467 


DITGHAMBGE 


numerous  cburcli  compositions  in  the  mod- 
ern style  consist  of  masses,  psalms,  motets, 
and  otlier  important  works,  most  of  which 
are  for  several  voices  with  instrumental  ac- 
companiment, though  several  are  for  voices 
alone. — Fctis,  Supplement,  i.  280. 

DUCHAMBGE  (Du  Chambge),  PAU- 
LINE, born  at  Martinique,  West  Indies,  in 
1778,  died  in  Paris,  April  23,  18.58.  Pianist, 
pupil  of  Desormery  in  a  convent  in  Paris, 
whither  she  was  taken  when  quite  young. 
For  many  years  she  entertained  friendly  rela- 
tions with  several  of  the  most  distinguished 
musicians  of  her  time,  and  as  a  teacher 
formed  a  number  of  well-known  pianists  and 
singers.  As  a  composer  she  was  especially 
popular  through  her  songs,  more  than 
three  hundred  of  which  were  i^ublished. 
— Fetis. 

DUCIS,  BENEDICTUS,  probably  born  in 
Bruges  about  1480,  flourished  in  the  first 
forty  years  of  the  16th  century.  Generally 
styled  Benedictus,  but  must  not  be  con- 
founded with  Benoit  cVAppenzell,  Swiss 
composer  of  that  time,  also  called  Benedic- 
tus. AValther  and  Gerber  call  him  Dux, 
the  Archives  of  Antwerp,  Hertoghs.  In  tlie 
registry  of  the  Confraternity  of  St.  Luke 
he  is  spoken  of  as  Prince  de  la  Gilde,  or 
chief  of  the  Confraternity,  the  highest 
honour  to  which  artists  could  aspire  in  the 
Netherlands.  In  the  registry  of  Notre 
Dame,  Antwerp,  he  is  mentioned  as  organ- 
ist of  the  Chapel  of  the  Virgin.  In  1515  he 
visited  England,  but  little  else  is  known  of 
his  history.  lu  1531  he  composed  a  mon- 
ody on  the  death  of  Josquin  Despres,  who 
had  taught  him  composition,  and  in  1536  an- 
other on  the  death  of  Erasmus,  which  proves 
him  to  have  been  living  at  those  dates. 
Among  his  compositions  are  :  Four-pai-t 
monody  on  the  death  of  Josquin,  in  the 
7th  set  of  French  chansons  in  5  and  6 
l^arts  (Susato,  1545),  a  cojjy  of  which  is  in 
the  British  Museum  (for  the  composition 
itself  see  Burney's  History,  ii.  513) ;  songs 
in  former  vols,  of  the  same  works  ;  Elegy 
in  5  parts,  Plangite  Pierides,  on  the  death 


of  Erasmus,  and  an  S-joart  Agnus  Dei,  both 
from  the  Selectissimfe  nee  non  familiaris- 
siniffi  cantiones  ultra  centum  (Augsburg, 
1540)  ;  Songs  in  the  collection  of  German 
songs  made  by  Forster  and  printed  by 
Petreius  (Nuremberg,  1539-40)  ;  motet, 
Peccantem  me  c[uotidie,  from  Cantiones 
octo  vocum,  ijrinted  by  Uhlard  (Augsburg, 
1545)  ;  motet,  Dum  fabricator  raundi  sup- 
plicium,    from   Ehau's   Selectee   Harmonise 

.  .  .  de  Passione  Domini  (Wittenberg, 
1558) ;  Two  5-part  motets,  Benedic  Domine, 
and  Corde  et  animo,  from  Kriesstein's  Can- 
tiones sex  et  quinque  vocum,  etc.  (Augsburg, 
1545).  Other  works  by  him  are  in  the  col- 
lections cantiouum  sacrarum,  etc.,  lib.  viii. 
(Louvain,  1554-57) ;  Selectissimarum  sacra- 
rum  eantionum,  etc.,  lib.  iii.  (Louvain, 
1569)  ;  Livre  septieme  des  chansons  a 
quatre  parties  accommodees  tant  aux  in- 
strumens  comme  a  la  voix  (Antwerp,  1597). 
— Allgem.  d.  Biog.,  v.  445  ;  Biog.  nat.  de 
Belg.,  vi.  231  ;  Fetis;  Grove  ;  Mendel ;  Eie- 
maim. 

DLIDENEY,  THOMAS  JAMES,  born  in 
Maytield,  Sussex,  England,  Nov.  29,  1854, 
still  living,  1888.  Organist,  pupil  of  Sir 
George  Alexander  Macfarren.  He  is  or- 
ganist and  choir-master  of  St.  James's 
Church,  Taunton,  and  music-master  at  the 
Independent  College.  As  conductor,  he  has 
introduced  many  classical  works  thi-ough 
several  musical  associations  with  which  he 
is  connected.  Works  :  Andante  con  varia- 
zioni  e  fuga  ;  Near  the  town  of  Taunton 
Dean,  part-song,  and  other  songs. 

DUE  FOSCARI,  I  (The  Two  Foscari),  It- 
alian opera  in  three  acts,  text  by  Piave, 
music  by  Verdi,  first  represented  at  Flor- 
ence, February,  1845  ;  in  New  York,  June 
9,  184G  ;  and  in  Paris,  at  the  Tlu'atre 
Italien,  Dec.  17,  1846,  with  Mario  and  Grisi 
in  the  principal  rules.  Scene  in  Venice,  in 
the  16th  century.  Doge  Francesco  Fos- 
cari, constrained  by  the  Council  of  Ten,  is 
obliged  to  subscribe  to  the  capital  punish- 
ment of  his  own  son,  Jacopo  Foscari.  Die 
Foscari,  German  grand  opera  in  three  acts, 


458 


DUE 


music  by  Max  Zeuger,  represented  iu  BIu- 
uicli,  18C3,  treats  the  same  subject. 

DUE  ILLU8TRI  lilVALI,  I  (The  Two 
Illustrious  Eivals),  Italian  opera  bufl'a,  text 
by  Rossi,  music  by  Mercadaute,  represented 
iu  Venice,  1S39. 

DUFAY  (Du  Fay),  GUILLAUME,  born 
at  Cbimay,  Belgium,  about  1350,  died  iu 
Home  iu  1432.  He  was  attached  as  tenor 
to  the  Pontifical  Chapel  from  1380  until 
his  death.  With  some  of  his  contempora- 
ries, he  did  much  to  advance  the  art  of 
counterpoint  and  to  improve  the  system  of 
nnisical  notation.  His  masses  are  the  old- 
est written  in  the  contrapuntal  style,  and  he 
understood  and  practised  many  of  the  con- 
trapuntal devices,  the  discovery  of  which  has 
commonly  been  attributed  to  a  later  period. 
Works :  Ecce  ancilla  Domini ;  L'Omme 
arme  ;  Se  la  face  ay  pale  ;  Taut  me  deduis, 
all  masses  preserved  in  the  archives  of  the 
Pontifical  Chapel,  j^ortions having  been  pub- 
lished by  Kiesewetter ;  De  Saint-Antoine, 
another  mass  quoted  by  Tinctor ;  6  mas- 
ses in  the  Royal  Belgian  Library ;  Gloria 
iu  the  library  of  Cambrai,  witli  other  jjieces 
attributed  to  him  by  Coussemaker  ;  manu- 
script motets  and  French  songs  from  the 
library  of  Guilbert  de  Pixorucourt. — Fetis  ; 
Mendel ;  Biog.  nat.  de  Belgique,  vi.  247  ; 
Ambros,  ii.  453  ;  Fetis,  Hist,  de  la  Musique, 
V.  321 ;  Kiesewetter,  Modern  Music,  105  ; 
Brendel,  Gesch.  der  Musik,  21  ;  Reissmann, 
Gesch.  der  Musik,  i.  142. 

DUFORT,  CHARLES  DE,  born  at  Sens 
(Yonue),  Nov.  21,  1803,  still  living,  1888. 
Church  composer,  pujjil  of  Henri  Brod  at 
the  Conservatoire,  Paris.  He  has  composed 
many  masses,  graduales,  hymns,  etc.,  most 
of  which  have  been  published. — Fetis. 

DUFRESNE,  ALFRED,  born  about  1822, 
died  in  Paris,  March,  1803.  Dramatic  com- 
poser, pupil  at  the  Paris  Conservatoire,  un- 
der Halevy.  He  became  known  first  by  his 
songs,  twelve  of  which  were  published  as 
Soirees  d'automne  (Paris).  Works — Operas: 
En  revenant  de  Pontoise,  given  at  the 
Bouftes  Parisiens,  Paris,  185G  ;  Maitre  Ba- 


ton, ib.,  1858  ;  L'hotel  de  la  poste,  ib,,  18C0  ; 
Les  valets  de  Gascogue,  Theatre  Lyrique, 
I860.— Fetis,  Supplement,  i.  285. 

DUGAZON,  GUSTAVE,  born  in  Paris  in 
1782,  died  there  in  182G.  Dramatic  com- 
poser, pupil  at  the  Conservatoire,  of  Berton 
for  harmony,  and  of  Gossec  for  conqMsitiou. 
He  won  the  2d  grand  prix  de  Rome  in 
1806,  taught  the  pianoforte  after  leaving 
the  Conservatoire,  and  published  for  that 
instrument.  He  began  composing  dra- 
matic works  in  1800,  bringing  out  a  little 
opera,  Le  voisinage,  in  collaboration  with 
Bertrand  and  others.  He  next  jjroduced 
at  the  Theatre  Feydeau,  Marguerite  de 
Waldemar,  1812,  La  noce  ecossaise,  1814, 
and  Le  chevalier  d'iudustrie  (with  Pra- 
dher),  1818,  none  of  which  were  successful. 
For  the  Opera  he  wrote :  Les  tiauces  de 
Caserte,  ballet  (1817);  Alfred  le  grand, 
ballet  (1822)  ;  Aline,  ballet  (with  Berton), 
1823.  His  instrumental  compositions  con- 
sist of :  5  melanges  d'airs  varies  en 
trios,  pour  piano,  violon  et  violoneeUe  ;  5 
melanges  d'airs  et  nocturnes  jjour  jiiauo 
etcor. ;  Fantaisies,  melanges  d'air.s,  preludes 
and  toccatas  for  jjianoforte  ;  Airs  varies  for 
pianoforte  ;  Quadrilles  and  contredanses  for 
pianoforte  ;  Duos  for  harp  and  pianoforte  ; 
and  several  collections  of  romances  and 
nocturnes  for  two  voices. — Fetis,  iii.  74 ; 
Suijplement,  i.  286  ;  Mendel. 

DUGUET,  DIEUDONNE,  born  at  Liege, 
Sept.  22,  1794,  died  there,  April  18,  1849. 
He  founded  with  Henrard  and  Jaspar,  in 
1821,  a  school  of  music  which  did  much 
good  work  until  absorbed  in  the  Conserva- 
toire, established  at  Liege  bj'  the  government 
in  1827,  in  which  he  was  then  made  pro- 
fessor of  solfege.  In  1828  he  became  organ- 
ist of  the  Church  of  Saint-Denis,  in  1835 
maitre  de  chapelle,  and  in  1837  organist  of 
the  cathedral.  He  was  stricken  with  blind- 
ness in  1835,  and  had  to  resign  his  class  at 
the  Conservatoire.  He  did  much  to  culti- 
vate the  study  of  religious  music  in  Liege. 
His  greatest  work  is  a  motet,  Sanctum  et 
terribile,  preserved  in  MS.  in  the  cathedral. 


459 


DUHAUPAS 


Published  works  :  A  Te  Deum,  a  Salve  re- 
giua  and  a  Homo  qiiidam,  with  full  orches- 
tra ;  2  Ecce  panis ;  G  Tautum  ergo,  two 
Genitori  aud  three  cantatas  for  solos,  chor- 
us, and  orchestra  ;  3  Requiems  with  organ 
accompauiraeut,  violoncello,  and  double- 
bass,  etc.  ;  Solfeges  en  canons,  with  Jaspar 
and  Heurard  (1823) ;  Livre  d'orgue  pour 
raccompagnenient  du  plain-chant  (1842,  2d 
ed.,  1851)  ;  Ilecueil  de  preludes  et  versets 
pour  I'orgue  (1851)  ;  Livre  de  motets  et 
psaumespour  les  processions  ;  Recueil  de  34 
morceaux  de  musique  sacree  a  1,  2,  8  et  4 
vols,  etc.  (1853-1855)  ;  Kecueil  de  32  mor- 
ceaux (Qiuvres  posthumes,  1859)  ;  Re- 
cueil de  litanies  ii  1,  2  et  3  voix,  2  vols.; 
aud  pieces  for  pianoforte,  duos,  romances, 
melodies,  scenes. — Biog.  nat.  de  Belgique, 
vi.  258  ;  Fetis,  Supplement,  i.  286 ;  Mendel, 
Erganz.,  92. 

DUHAUPAS,  ALBERT,  born  at  Arras, 
France,  April  22,  1832,  still  living,  1S8S. 
Organist,  first  instructed  by  his  father,  then 
by  a  German  artist,  Neuland,  and  at  the 
Conservatoire,  Paris,  pupil  of  INIarmontel ; 
having  returned  to  his  native  city,  he  be- 
came maitre  de  chapelle  of  the  cathedral, 
aud  director  of  the  Society  des  Orpheouistes, 
which  he  succeded  in  making  one  of  the 
best  in  France.  Works :  ^Mass  for  four 
male  voices  ;  10  motets  for  two  soprani, 
tenor,  and  bass  ;  Other  motets  and  various 
sacred  compositions  ;  Pianoforte  pieces, 
choruses,  and  songs. — Fetis,  Sujaplement,  i. 
286. 

DUHEM,  HIPPOLYTE  JEAN,  born  in 
Paris,  Dec.  1,  1828,  still  living,  1888.  Trum- 
jjet  player,  pupil  at  the  Brussels  Conserva- 
toire, under  Zeiss.  In  1846  he  took  the  1st 
prize  ;  became  solo  trumpet  at  the  Theatre 
Royal,  and  served  three  years  in  the  band 
of  the  Guides.  After  a  professional  tour 
through  Europe  and  America,  he  returned 
in  1860  to  Brussels,  where  he  became  pro- 
fessor at  the  Conservatoire.  He  has  pub- 
lished in  London  music  for  the  trumpet  and 
cornet-a-pistons. — Fetis  ;  Mendel. 

DU  HIER,  IRENE  !     See  Mienzi. 


DULCKEN,  FERDINAND  QUENTIN, 

born,  of  German  and  French  parentage,  in 
London,  England,  June  1,  1837,  still  living, 
1888,  in  New  York.  Pianist,  son  of  Ma- 
dame Louise  (David)  Dulcken  (1811-1850), 
who  was  a  sister  of  Ferdinand  David,  the 
violinist.  He  studied  the  j)ianoforte  and 
the  theory  of  music  at  the  Leipsic  Con- 
servatorium  under  Mendelssohn,  Moscheles, 
Gade,  Riehter,  Plaidy,  Joachim,  aud  Haupt- 
mann,  and  the  organ  under  Becker ;  after- 
wards he  was  a  pupil  at  Cologne  of  Ferdi- 
nand Hiller.  He  was  for  a  time  a  professor 
in  the  "Warsaw  National  Conservatory,  Po- 
land, in  which  country  he  resided  five  years. 
He  lived  in  Paris  also  for  four  years,  and 
played  in  concerts  throughout  Europe  with 
Wieniawski,  Vieuxtemj^s,  de  Kontski,  and 
others.  In  1876  he  went  to  xlmerica  and 
travelled  there  with  Essipoti",  Remenyi, 
Marie  Eoze,  aud  Jose&y.  "Works  :  Piano- 
forte pieces  ;  Songs  ;  Messe  Soleunelle  : 
Wieslaw,  opera,  played  in  Poland ;  aud  en- 
semble pieces  ;  in  all  about  200  works. 

DULON,  FRIEDRICH  LUDWIG,  born 
at  Oranieuburg,  Prussia,  Aug.  14,  1769, 
died  in  Wiirzburg,  July  7,  1826.  In  the 
first  week  of  his  life  an  unskilful  physician 
made  him  blind.  His  father  taught  him 
the  flute  ;  Angersteiu  of  Steudal  instructed 
him  in  theory,  so  that  he  began  composing 
at  the  age  of  nine  ;  and  he  was  enough  of  a 
pianist  early  to  play  Bach's  fugues.  He 
began  making  concert  tours  in  1783,  ac- 
companied at  first  by  his  father,  later  by 
his  sister,  and  was  heard  almost  all  over 
Europe.  In  St.  Petersburg  he  was  made 
imperial  chamber  musician  in  1796.  His 
memory  was  such  that  he  could  remember 
a  new  flute  concerto  after  a  few  hours'  hear- 
ing ;  and  in  his  mature  years  he  had  250 
concert  pieces  at  his  command.  He  partly 
dictated,  partly  wrote,  with  the  aid  of  a 
movable  relief  alphabet  invented  for  him,  his 
autobiography,  which  was  published  by  Wie- 
land :  Dulon's  des  blinden  Flotenspielers 
Leben  und  Meinungen  von  ihm  selbst  bear- 
beitet    (ZiU-ich,  1807-8,  2   vols.).     "Works: 


m\ 


DU]\IANOIll 


Duos  aiul  variatious  for  flute  and  violin  ; 
Flute  caiJi-icidos  ;  Flute  concerto.— Allgem. 
d.  Biogr.  ;  Mendel ;  Fotis  ;  Scliilling. 

DUJNLiNOIR.  There  were  several  mu- 
sicians of  this  name  belonging  to  the  same 
family,  who  flourished  in  Paris  from  IGlo 
to  1G95.  Matthieu  Du  Muuoir  was  violon- 
iste  de  la  chambre  du  roi,  under  Louis  XIII. ; 
his  son,  or  nephew,  Claude,  and  the  most 
remarkable,  succeeded  Louis  Coustantiu  as 
roi  des  violons  de  Paris  and  maitre  des 
mcnestriers.  The  royal  ordinance  granting 
this  is  dated  Nov.  20,  1657,  and  is  regis- 
tered in  the  Parlement,  Jan.  21,  1G.58.  He 
was  also  first  violin  to  the  king.  This  pecu- 
liar sovereignty  had  been  established  in 
1331,  and  the  right  confirmed  by  Charles 
VI.,  in  an  ordinance  dated  April  21,  1107. 
Guillaume  Du  Manoir,  born  Nov.  1(5,  1613, 
also  son  of  Matthieu,  was  the  author  of  Le 
mariage  de  la  musique  avee  la  danse. 
Guillaume  Michel  Dumanoir  II.,  sou  of 
Guillaume,  became  roi  des  violons  (1G90), 
and  also  first  violin  to  the  king  ;  he  abdi- 
cated, signing  his  resignation  before  a  no- 
tary public,  Dec.  1,  1695.— Fetis,  iii.  76  ; 
do.,  Supplement,  i.  287  ;  Mendel. 

DU  MOLIN  (Dumoliu),  JEAN  EEMI, 
Netherlands  musician,  born  iu  the  last  years 
of  the  15th  century.  He  was  organist  of  the 
church  of  Saint-Jean,  Mechlin,  a  position 
which  he  still  held  in  1528.  His  name  is 
sometimes  spelled  Du  Moulin  in  the  collec- 
tions of  the  16th  century.  His  works  are 
found  in  Motetti  del  Fiore  a  quattro,  hb. 
1,  2,  3,  4  (Jacques  Moderne,  Lyons,  1532- 
1539).  His  motet,  In  Domino  confido,  for 
four  voices,  is  iu  the  third  book  of  that  col- 
lection. His  motets  for  five  voices  are  in 
Motettorum,  5  vols.  (Jacobo  Moderno,  Lug- 
duni,  1532-1512).  Attaignant's  Missarum 
dominicalium,  quatuor  voc,  second  book 
(1534)  contains  two  of  his  Masses.— Biog. 
nat.  de  Belg.,  vi.  274  ;  Fetis  ;  Mendel. 

DUMONCHAU,  CHARLES  FRANCOIS, 
born  in  Strasburg,  April  11,  1775,  died  in 
Lyons,  Dec.  21,  1820.  Pianist,  pupil  of  his 
father  Joseph  Dumouchau,   on  the  violon- 


cello, of  Berg  in  harmony,  and  of  Baumayr 
on  the  pianoforte.  Admitted  to  the  Con- 
servatoire, he  took  up  the  study  of  the  pi- 
anoforte and  composition,  and  finally  took 
lessons  of  Wijlfl.  In  1S05  he  brought  out 
an  opera,  L'ofiicier  cosaque,  at  the  Porte- 
Saint-Martiu,  which  was  not  successful.  He 
returned  to  Strasburg  shortly  after  this, 
and  became  professor  of  the  pianoforte,  but 
in  1809  went  to  live  in  Lyons.  His  com- 
piositions,  though  elegant  and  pure  in  style, 
are  now  nearly  forgotten.  Works  :  33  so- 
natas for  pianoforte,  op.  1,  3,  5,  19,  21,  26, 
28,  30,  32  ;  24  sonatas  for  pianoforte  with 
violin  or  flute,  op.  4,  13,  15,  20,  23,  24  ;  2 
trios  for  pianoforto,  violin  and  bass,  op.  29, 
34  ;  2  concertos  for  pianoforte,  op.  12,  33  ; 
besides  airs  varies,  pots-pourris,  etc.,  a  sym- 
phonic concertante  for  flute,  oboe  and  bas- 
soon, aud  a  concerto  for  horn. — Fctis  ; 
Mendel. 

DUMONT,  HENRI,  born  at  Villers-FE- 
vcque,  near  Liege,  in  1610,  died  in  Paris, 
May  8,  1684.  Priest  aud  organist  ;  studied 
music  as  a  chorister  in  the  College  of  Sidnt- 
Servais,  Maestricht,  and  afterwards  at  the 
music  school  of  Liege.  About  1G30  he 
went  to  Paris  to  begin  his  musical  career, 
but  no  record  is  found  of  him  until  1639, 
when  he  is  mentioned  as  organist  of  the 
church  of  Saint- Paul.  He  was  the  first  to 
introduce  into  France  the  basso  coutinuo. 
Louis  XIV.  made  him  one  of  his  maistres 
de  musique,  the  others  being  Robert,  Spirli, 
and  Gobert,  and  at  the  death  of  the  last 
two  he  and  Robert  became  full  maitres  de 
chapelle  to  the  king.  He  held  a  like  posi- 
tion in  the  queen's  household,  and  was 
made  Abbe  de  Silly  at  her  request.  His 
works  are  now  very  rare.  Those  still  in 
use  are  :  Five  grand  masses  in  plain-chant, 
called  Messes  royales,  still  sung  on  great 
occasions  in  France.  Other  works  :  IMes- 
langes  a  1,  2,  3,  4,  5  parties,  avec  la  basse 
continue,  contenaut  plusieurs  chansons, 
motets.  Magnificat,  preludes  et  allemandes 
pour  I'orgue  et  pour  les  violes,  liv.  1.  (Paris, 
1549)  ;  Meslanges,  etc.,  lib.  2  (1657) ;  Can- 


D'  UN 


tica  Sacra,  2,  3,  4  voc,  etc.,  lib.  1  (1GG2)  ; 
Motets  a  deux  voix  avec  la  basse  continue 
(16G8) ;  Motets  a  2,  3,  et  4  parties  pour 
voix  et  instruments,  avec  basse  continue 
(1681)  ;  Motets  pour  la  chapelle  du  roi,  etc. 
(1G86).  The  following  are  in  a  collection 
iu  4  vols.,  by  Ballard  :  1,  Motets  a  deux 
chcEurs,  seize  parties  ;  2,  Motet  de  TEter- 
uite  a  voix  seule  avec  basse  continue  ;  3, 
Motet  d'elevation  a  deux  parties  avec  basse 
continue  ;  4,  Les  airs  et  basse  continue  de 
Du  Mout.  Psaumes,  cantiques,  et  motets 
a  4  voix  avec  basse  continue,  are  in  the 
MS.  collection  by  Pbilidor  (1G97),  preserved 
iu  the  Conservatoire,  Paris.  Cinq  messes 
Eoyales,  5th  ed.  (1711) ;  a  sixth  mass,  called 
Messe  Papale  (1G90),  found  by  Maurice  Ar- 
daut,  of  Limoges,  in  an  old  MS. — Biog. 
nat.  de  Belg.,  vi.  302  ;  Fetis  ;  Mendel. 

D'  UN  ALMA  TKOPPO  PERVIDA.  See 
PoliiUo. 

DUN,  FINLAY,  born  in  Aberdeen,  Scot- 
land, Feb.  24,  1795,  diediu  Edinburgh,  Nov. 
28, 1853.  Violinist  and  singing  teacher,  pu- 
pil of  Baillot  and  Mirecki.  Works :  Two 
symi^houies  for  full  orchestra  (MS.)  ;  The 
Parted  Spirit,  glee  (prize  at  Manchester, 
1831) ;  She  is  coming,  trio ;  anthems,  psalms, 
hymns,  etc.  He  edited,  with  John  Thomson, 
"  The  Vocal  Melodies  of  Scotland  "  ;  with  J. 
F.  Graham  "  Wood's  Songs  of  Scotland  "  ; 
and  other  collections. 

DUN  COMBE,  WILLLIM  DUNCAN 
VAN  DER  HORST,  born  at  Siou  Hill,  An- 
tigua, July  G,  1832,  still  living,  1888.  Bass 
singer,  bassoonist,  and  vocal  composer.  As- 
sistant vicar  in  Hereford  Cathedral,  minor 
canon  and  custos  of  the  College  of  Vicars 
choral,  Hereford.  Composer  of  the  madri- 
gal "In  the  Merry  Spring,"  of  a  few  carols 
and  two  songs,  and  of  the  dirge  iu  "  Much 
Ado  about  Nothing,"  Pardon,  Goddess  of 
the  Night,  which  is  in  MS. 

DUNHAM,  HENRY  MORTON,  born  of 
American  parentage  in  Brockton,  Massa- 
chusetts, July  27,  1853,  still  living,  1888. 
Organist,  pupil  on  the  organ  of  George  E. 
Whiting  and  J.  K.  Paine,  on  the  pianoforte 


of  James  C.  D.  Parker  and  Franz  Petersi- 
lea  ;  and  in  composition  of  J.  K.  Paine  and 
Stephen  A.  Emery.  He  was  graduated  iu 
1873  at  the  New  England  Conservatory  of 
Music,  Boston,  and  in  1875  from  the  Boston 
University  College  of  Music  ;  was  organist 
and  choir-master  of  the  Porter  Congrega- 
tional Church,  Brockton,  Mass.,  1870-78  ; 
and  conductor  of  the  Gounod  Club  in  that 
city.  In  1878  he  was  appointed  instructor 
of  organ  and  pianoforte  at  the  New  England 
Conservatory,  and  professor  of  organ  at 
the  Boston  University  College  of  Music  ; 
both  of  which  positions  he  still  holds.  In 
1879-80-81  he  gave  a  series  of  thirteen 
concerts,  on  the  great  organ  in  Boston 
Music  Hall.  Since  1880  he  has  been  organ- 
ist of  the  Ruggles  Street  Baptist  Church, 
Boston.  Works  :  3  books  of  Hymn  Music, 
1877  ;  Cappriccio  brillaute  for  the  piano- 
forte, 1877  ;  anthem,  O  Tell  me  Thou  Life, 
1877  ;  2  Andantes  for  the  organ,  in  A-flat 
and  E-tiat,  1879  ;  Exercises  in  Pedal  Play- 
ing, 1885  ;  and  other  organ  music. 

DUNI,  EGIDIO  E0:M0ALD0,  born  at 
Matera,  near  Otranto,  Naples,  Feb.  9,  1709, 
died  in  Paris,  June  11,  1775.  Dramatic 
composer,  pupil  at  the  Conservatorio  dei 
poveri  di  Gesii  Christo,  Naples,  then  under 
the  direction  of  Durante.  He  went  to  Rome 
in  1735,  commissioned  to  write  the  opera 
of  Nerone,  in  comf)etition  with  Pergolesi, 
who  was  then  composing  his  Olimpiade  ; 
he  won  the  prize,  but  had  the  modesty  to 
acknowledge  the  superiority  of  Pergolesi's 
work.  Sent  on  a  secret  mission  from  Rome 
to  Vienna,  he  brought  out  there  some  of 
his  compositions,  and  on  his  return  to 
Naples  was  made  maestro  di  cajjpella  at 
San  Nicola  di  Bari.  After  short  visits  to 
Venice  and  Paris,  he  went  in  1744  to  Lon- 
don, where  he  comj^osed  several  works,  but 
suffering  from  a  chronic  disease,  was  ad- 
vised to  consult  the  famous  Boerhaave,  iu 
Holland.  On  his  return  he  visited  Milan 
and  Genoa,  and  was  made  music  instructor 
to  the  daughter  of  the  Infante  of  Parma  in 
1746 ;  French  manners  and  customs  prevail- 


DUMECKI 


ing  at  that  court,  he  was  iiKluced  to  com-  \  and  Wciulis',  ami  became  chamber  musician 
pose  some  Freuch  operas,  the  great  success  to  the  Elector  of  Saxony  in  1788.   "W  orks  :  3 
of  which  led  to  his 
removal  to  Paris 
in  1757,  where   he 
wrote  the  music 


/• 


V 


'•Cm 


.:/^' 


for  eighteen  other 
operas  -  comiques, 
all  of  which  were 
successful,  and 
some  of  which  be- 
came famous.  He 
may  be  considered 

as  the  real  founder  of  the  opura-comique 
in  France.  Works — Italian  Operas :  Nerone, 
given  in  Rome,  1735  ;  Artaserse,  Naples, 
about  1737  ;  Bajazette  ;  Giro  ;  Ipermnestra  ; 
Demofoonte  ;  Alessandro  ;  Adriano  ;  Catone 
in  Utica  ;  Didone  ;  Demetrio  ;  OHmpiade  ; 
Tordinona.  Freuch  operas-comiques  :  Ni- 
nette a  la  cour,  Parma,  1755  ;  Le  peintre 
amoureuxde  son  modMe,  Paris,  Tht'atre  dela 
Foire  Saint-Laurent,  1757  ;  Nina  et  Liudor, 
ou  les  caprices  ducoeur,  ib.,  1758  ;  Le  doc- 
teur  Sangrado  (with  Laruette),  Ojx'ra  Co- 
mique,  1758  ;  La  title  nial  gardce,  Coincdie 
Italienne,  1758  ;  L'ile  des  fous,  ib.,  17G0  ; 
Mazet,  ib.,  17G1  ;  La  veuve  indecise,  Foire 
Saint-Laurent,  1759  ;  La  bonne  fille  ;  Le 
retour  au  village,  17G2  ;  La  jjlaideuse  et  le  ;  litaniis  B. 
proces,  Comcdie  Italienne,  17G2  ;  Le  mili- 
cien,  Versailles,  17G2  ;  Comedie  Italienne, 
1763 ;  Les  chasseurs  et  la  laitiere,  Le 
rendez-vous,  ib.,  17G3  ;  Locole  de  la  jeu- 
nesse,  La  fee  Urgele,  ib.,  1765;  La  clo- 
chette,  ib.,  1766  ;  Les  nioissonneurs,  Les 
sabots,  ib.,  1768  ;  Themire,  ib.,  1770.— Cle- 
ment, ]Mus.  CL'U'bres,  79  ;  Fetis  ;  Mendel  ; 
Schilling. 

DUNIECia,  Le  Chevalier  STANISLAS, 
Polish  dramatic  composer  ;  contemporary. 
Works  :  Pakusa,  opera,  text  by  his  brother, 
given  at  Cracow,  April,  1866  ;  Der  Teufel 
ist  los,  Berlin,  18GG  ;  Lucifer,  Theater  an 
der  Wein,  Vienna,  1868.— Fetis,  Supple- 
ment, i.  288. 


cantatas,  Der  Friihling,  Das  Lob  Gottes, 
and  Das  Lob  der  Tonkuust  ;  Die  Eugel 
am  Kreuze  Jesu,  oratoi-io  ;  music  for  the 
drama  Kein  Faustrec-ht  mehr,  performed 
in  Weimar  in  1798  ;  Symphonie.s,  trios, 
quartets,  quintets,  concertos,  and  songs. 
—Mendel ;  Ft'tis. 

DUNNE,  JOHN,  born  in  York,  England, 
in  183-1,  died  at  Aston,  near  Dubhn,  Ire- 
land, June  7,  1883.  He  was  chorister  in 
Worcester  Cathedral  in  1850,  in  Cashel  Ca- 
thedral, Ireland,  in  1854,  and  was  a  mem- 
ber of  Christ  Church,  St.  Patrick's  Cathe- 
dral, and  Trinity  College  choirs,  Dublin. 
Mus.  Bac,  Dublin,  18G6 ;  Mus.  Doc,  ib., 
1870.  Works  :  Myra,  cantata  for  full 
chorus  and  orchestra  ;  The  Hanging  of  the 
Crane,  cantata  (Longfellow)  ;  Church  ser- 
vices and  anthems  ;  Glees,  songs,  etc. 

DU  PAm^E  SEUL  AMI  FIDIJLE. 
See  Muctle  de  Portici. 

DUPONCHEL,  Le  Pore  JACQUES, 
born  at  Douai  in  the  first  half  of  the  17th 
century.  Cordelier  monk,  organist  to  Car- 
dinal Bichi,  Rome.  Works  :  Psalmi  Vesper- 
tuii  cum  litaniis  B.  M.  V.,  3  voc.  (Rome, 
1G65)  ;  Sacrse  cantiones  2,  3,  4  voc.  cum 
M.   v.,    op 


2  (Bologna,  1G71)  ; 
Messe  a  3,  4,  5  voci  concertate  con  violini 
e  ripieni  a  bene  plaeito,  op.  3  (Rome,  1G76). 
— Fetis. 

DUPONT,  AUGUSTE,  born  at  Eusival, 
near  Liege,  Feb.  9, 
1828,  still  livhig, 
1888.  Pianist,  pupil 
at  the  Liege  Conser- 
vatoire from  1840  to 
1844  ;  studied  also 
under  Jalheau,  for- 
mer pupil  of  Jacques 
Herz  and  Knlkbreu- 
ner.  After  successful 
professional  tours 
through  Europe,  he  became  in  1852  pro- 


DUNKEL,  FR.iNZ,  born  in  Dresden  in  fessor  of  the  pianoforte  at  the  Brussels  Con- 
1769,  died  (?).     He  studied  under  his  father  1  servatoire.     Works  :  Variations  sur  un  air 

463 


DUPONT 


populaire  Liegeois  (1846) ;  fitude  de  trilles 
(1848) ;  Concerto  en  l':i  miueur  jjour  j)iMio 
et  oi'chestre  (1850) ;  Six  contes  du  foyer,  en 
morceaux  separus  pour  piano  (1852)  ;  Trois 
cabiers  de  reminiscences  pastorales  pom- 
piano  (1853) ;  Etude  fantasticpie  a  5  temps 
(1854)  ;  Sonate  pour  piano  et  violou  (Leip- 
sic) ;  Lamento,  jjoesie  elegiaque  pour  piano  ; 
Le  tremolo  staccato  (Bonn)  ;  Grand  galop 
fantastique,  dedie  :i  Meyerbeer  ;  Fautaisie 
pour  j)iano  et  orchestre,  op.  21  (Paris)  ;  Le 
mouvement  perpetual,  op.  24  ;  Grand  trio 
pour  piano,  -yiolon  et  violoncelle,  op.  29  ; 
Marclie  et  scene  druidique,  op.  30  ;  Grand 
concerto  symijlionie  pour  piano  et  orchestre, 
played  at  a  concert  in  1857,  and  at  the  Con- 
servatoire in  1858  ;  La  danse  des  Alniues, 
op.  25  ;  Tocatelle,  op.  26  ;  Trois  dauses  dans 
le  style  ancien,  Gavotte,  Sarabaude,  Bourree, 
op.  37  ;  Fantaisie  et  fugue  pour  la  main 
droite  seule,  op.  41 ;  Roman  en  dis  images, 
op.  48,  etc. — Fetis,  iii.  81 ;  do.,  Supplement, 
i.  290  ;  Mendel ;  Eiemann. 

DUPONT,  HENEI  DENIS,  born  in 
Liege  in  1660,  died  there,  Sept.  1,  1727. 
Organist,  chorister  in  the  cathedral  of  Saint- 
Lambert,  where  he  was  pupil  of  canon 
Pietkin  and  of  his  colleague  Pierre  Lanialle. 
He  received  organ  lessons  also  from  Guil- 
laume  Deleshay,  and  became  organist  of  the 
Cathedral  in  1685,  and  maitre  de  chajselle  in 
1703.  He  was  also  canon  of  the  Cathedral, 
and  made  a  famous  collection  of  musical 
works.  Works  :  Repons  en  contrepoint 
pour  les  isrincijiales  fetes  de  I'anuee  ;  Gran- 
des  Antiennes  O  pour  I'Avent ;  Several 
messes  solenneUes,  with  orchestra  ;  Several 
motets,  with  orchestra  ;  Messes  des  Morts, 
with  orchestra  ;  Te  Deum  pro  Turcorum 
destructione,  with  orchestra,  performed  at 
the  Liege  Cathedral  to  celebi'ate  the  victory 
of  Prince  Eugene  over  the  Turks  (1717). 
Of  all  these  works  only  several  of  the 
Ri'pons  and  Antiennes  are  extant. — Biog. 
nat.  de  Belg.,  i.  315. 

DUPONT,  JEAN  FEANrOIS,  born  in 
Rotterdam  in  1822,  died  at  Nuremberg, 
March  21,  1875.     Dramatic  composer  and 


violinist,  pupil  at  the  Conservatorium,  Leip- 
sic,  of  Mendelssohn  in  comisositiou,  and  of 
Ferdinand  David  on  the  violin.  On  his  re- 
turn to  Holland  he  brought  out  successfully 
several  choral  and  orchestral  works,  then 
settled  in  Hamburg  (1854),  was  Kapell- 
meister of  the  theatre  at  Liuz  in  1856,  and 
at  Nuremberg  in  1858-74.  There  and  at 
Warsaw  and  Moscow  he  acquired  reputation 
as  au  excellent  conductor.  Most  of  his 
works  remain  in  manuscript,  owing  prob- 
ably to  their  great  length.  His  grand  opera 
in  three  acts,  Bianca  Siffredi,  text  by  L. 
Hoffmann,  was  given  with  success  at  Linz, 
Nov.  23,  1855.— Mendel 

DUPONT,  JOSEPH,  born  in  Liege,  Aug. 
21,  1821,  died  there,  Feb.  13,  1861.  Vio- 
linist, jjupil  of  his  father,  a  distinguished 
amateur,  and  at  the  Liege  Conservatoire, 
where  he  studied  under  Antoine  W^anson 
and  Frau(,'ois  Prume.  He  became  professor 
of  the  violin  at  the  Conservatoire  when 
seventeen  years  old.  His  opera-comique, 
Eibeiro  Pinto,  was  played  at  the  Cercle 
Artistique,  Liege,  in  1858,  by  members  of 
the  Choral  Society  La  Legia.  Works : 
Credo,  Kyi'ie,  Agnus  Dei,  quartet,  and 
quintet  for  string  instruments  ;  Symphonic 
andante  ;  Two  fantaisies  for  violin  ;  Three 
Etudes  and  a  Romance  sans  paroles  for 
violin  ;  8  Etudes  for  violin  with  accompani- 
ment of  a  second  violin  ;  Ave  Maria  Stella 
for  two  voices ;  Ave  JMaris  for  a  single 
voice  ;  Tantum  ergo  for  a  single  voice  ;  8 
Litanies  for  a  bass  voice. — Fetis,  Supple- 
ment, i.  289  ;  Riemann. 

DUPONT,  JOSEPH,  the  younger,  born 
at  Eusival,  near  Liege,  Jan.  3,  1838,  died 
at  Haarlem,  June  26,  1867.  Violinist,  pu- 
pil at  the  Brussels  Conservatoii-e,  where  he 
gained  the  1st  prize  for  violin  in  1862,  and 
the  1st  prize  for  composition  in  1863.  He 
was  professor  of  harmony  in  the  Conserva- 
toire. W^orks  :  Symphonies,  overtures,  can- 
tatas, pianoforte  music,  songs,  etc. 

DUPONT,  PIERRE,  born  at  Rochetaillce, 
near  Lyons,  April  23,  1821,  died  at  Saints 
fitienne,  July  25,  1870.    Poet  and  musician. 


464 


DUPORT 


whose  reputation  was  made  liy  his  rustic 
and  political  songs,  which  were  sung 
throughout  France.  The  son  of  a  poor  la- 
borer, he  received  very  little  education. 
His  poetical  taste  was  fostered  by  the  ac- 
quaintance of  Pierre  Lebrun,  author  of 
Marie  Stuart,  who  read  Dupont's  first  ef- 
fort, Les  deux  anges,  which  was  afterwards 
awarded  a  prize  by  the  Acadcmie  Frau<;aise 
(1842).  Dupont  went  to  Paris  in  1839,  and 
held  a  position  under  the  Academie,  and 
in  IS-tG  began  writing  songs  such  as  Les 
bceufs,  La  vigne,  La  mfere  Jeanne,  etc.  His 
iii'st  poems  were  published  in  the  collection 
entitled  :  "  Les  Paysans,  chants  rustiques," 
brought  out  under  the  care  of  Tlu'ophile 
Gautier.  His  songs,  Les  sapins,  Le  mois 
de  mai.  La  chanson  des  foins,  which  may 
be  called  pastoral  symphonies,  succeeded 
these  and  were  followed  by  his  political 
songs,  which  sometimes  awoke  such  enthu- 
siasm when  sung  at  mass  meetings,  that 
they  were  suppressed  by  the  police.  Among 
these  are  :  Le  pain,  one  of  his  most  fa- 
mous ;  Le  chant  des  ouvriers  ;  Chanson  de 
la  sole,  Chant  du  transporte,  Les  adieus 
de  Kossuth,  La  nouvelle  alliance.  At  the 
time  of  the  Coup  d'Etat,  1851,  he  was  con- 
demned to  exile,  but  pardoned  in  the  first 
days  of  the  Empire.  He  never  wrote  after- 
wards, however,  with  the  same  freedom,  and 
his  later  songs  were  unsuccessful.  In  com- 
posing he  was  aided  by  Keyer,  who  noted 
down  the  airs  which  the  poet  sang  to  his 
own  poems,  and  which  he  was  not  musician 
enough  to  write.  His  works  have  been  col- 
lected in  an  edition  published  in  four  vol- 
umes with  notes  by  Baudelaire  and  Eeyer 
(Paris,  1854).— Ft'tis,  Supplement,  i.  289  ; 
Larousse,  vi.  1413  ;  Mendel,  iii.  277  ;  Eie- 
mann,  229. 

DUPORT,  (JEAN)  LOUIS,  born  in  Paris, 
Oct.  4,  1749,  died  there,  Sept.  7,  1819.  Vio- 
loncellist, brother  and  pupil  of  Jean  Pierre 
Duport,  whom  he  surpassed.  He  was  first 
heard  at  the  Concerts  Spirituels  and  the 
Societe  Olympique,  but  his  style  w-as  much 
improved   after  the   coming  of   Viotti,   in 


1782.    After  the  breaking  out  of  the  French 
Revolution,  he  went  to  Prussia  to  join  his 
brother  and  became  court  musician  for  sev- 
enteen years.     He  returned  to  Paris  after 
the  Prussian  war  to  find  himself  unknown, 
became  musician  to  Charles  IV.,  ex-King  of 
Spain,  at  Marseilles,  and  when  that  Prince 
went  to  Rome  in  1812,  returned  to  Paris 
and  was  thenceforward  the  leading  French 
violoncellist.     He   was    chamber  musician 
to  the  Empress  Marie  Louise,  violoncellist 
in  the  Imperial   Chapel,   professor  at   the 
Conservatoire  until  its  suppression  in  181.5, 
and  musician  to  Louis  XVIH.     Works  :  Six 
concertos  ;  Four  works  of  sonatas  with  ac- 
companying bass  ;  Three  duos  for  two  vio- 
loncellos; Eight  airs  varies  with  orchestra 
or  quartet  ;  Two  airs  varies  for  violin  and 
violoncello  (with  Jarnowick)  ;  Romance  with 
pianoforte  accompaniment  ;  Nine  nocturnes 
for   harp)    and   violoncello    (with   Bochsa) ; 
Fantaisies   for  violin  and   jjianoforte.     His 
Essai  sur  le  doigter  du  violoncello  et  la  con- 
duite  de  I'archet,  avec  une  suite  d'exercices 
(Paris),  is  a  fundamental  work  for  the  study 
!  of   the   violoncello. — Fetis  ;   Mendel ;   Rie- 
maun  ;  Biog.  gen.,  iv.  354  ;  Larousse  ;  Grove. 
.      DUPORT,  (JEAN)  PIERRE,  called  Du- 
port aine,  born  in  Paris,  Nov.  27,  1741,  died 
in  Berlin,  Dec.  31,  1818.     Violoncellist,  pu- 
pil of  Berthaut,   who  considered  him   his 
best   scholar.     He   was   first  heard   at  the 
Concerts  Spirituels  in  1761,  was  musician  to 
the  Prince  de  Conti  until  1769  ;  and  after 
visiting  England  and  Spain,  went  in  1773 
to  Berlin  as  first  violoncellist  of  the  Royal 
;  Chapel  of  Frederick  H.  of  Prussia.    He  was 
superintendent  of  the  court  concerts  from 
1787    to  1806.      Works  :    3    duos   for   two 
violoncellos,  op.   1   (Paris)  ;   6    sonatas   for 
violoncello   and    bass   (Amsterdam,  Berlin, 
1788). — Fctis  ;  Larousse  ;  Grove  ;  Mendel. 
DUPRATO,  JULES   LAURENT    (ANA- 
CHARSIS),  born  at  Nimes,  Aug.  20,  1827, 
still  living,  1888.     Dramatic  composer,  pu- 
pil at  the  Conservatoire,  Paris,  of  Leborue, 
won  the  grand  prix  in  1848  with  his  cantata 
Damocles,  and  having  silent  two  years  in 


«<5 


DUPEEZ 


Rome,  visited  other  cities  of  Italy,  and  trav- 
elled in  Germany.  In  1866  he  became 
I^rofessor  of  harmony  at  the  Conservatoire. 
Works — Operas-coniiques:  Les  trovatelles,  1 
act,  given  at  the  Opera  Comique,  1854 ; 
Paquerette,  do.,  ib.,  18.56  ;  M'sieu  Landry, 
Bouft'es  Parisiens,  1856  ;  Salvator  Rosa,  3 
acts,  Opera  Comique,  1861  ;  La  deesse  et 
le  berger,  2  acts,  ib.,  1863  ;  Le  baron  de 
Groschaminet,  1  act,  Sacripaut,  2  acts, 
Fantaisies  Parisieuues,  1866  ;  Le  chauteur 
florentin,  lyric  scene,  ib.,  1866  ;  La  fiancee 
de  Corinthe,  1  act,  Ojiera,  1867  ;  La  tour 
du  chien  vert,  3  acts,  Folies  Dramatiques, 
1871  ;  Le  cerisier,  1  act.  Opera  Comique, 
1874  ;  La  reine  Mozab,  operetta,  not 
given  ;  Uue  promenade  de  Marie  Therese, 
do.  ;  Marie  Stuart  au  chateau  de  Lochleven, 
do.  ;  Gazouillette,  opera-comique,  do.  ;  3 
cantatas,  Ojiera  Comique,  1859,  1861,  Ojiera, 
1864 ;  Cantata  for  the  inauguration  of  the 
Ath^nee  Musical,  1864  ;  3  choruses  for  equal 
voices  ;  vocal  melodies. — Ft'tis  ;  do.,  Sujjjjle- 
ment. 

DUPREZ,  GILBERT  LOUIS,  born  in 
Paris,  Dec.  6,  1806,  stQl  living,  1888.  Dra- 
matic composer,  joupil  of  Choron  at  the 
Paris  Conservatoire.  He  sang  in  public 
for  the  first  time  in  Athalie,  at  the  Theatre 
Frauyais,  in  1820  ;  made  his  debut  as  a 
tenor  at  the  Odeon,  in  1825,  as  Almaviva ; 
went  to  Italy  in  1828,  and  sang  in  NajDles 
and  other  cities.  He  became  very  popular, 
and  took  his  place  at  the  head  of  French 
dramatic  singers  of  his  time.  In  1836,  on 
his  return  to  France,  he  became  first  tenor 
at  the  Opera,  where  he  sang  twelve  years, 
creating  many  important  roles.  From 
1842  he  was  professor  of  lyrical  decla- 
mation at  the  Conservatoire,  but  resigned 
in  1850,  and  founded  I'Ecole  Spociale  du 
Chant,  which  during  the  war  of  1870  was 
removed  to  Brussels.  Works  :  L'abime  de 
la  maladetta,  .loanita,  given  at  Brussels, 
1851  ;  La  lettre  au  Bon  Dieu,  Paris,  Ope- 
ra Comique,  1853  ;  Jeanne  D'Arc,  grand 
opera,  ib.,  Grand  Theatre  Parisien,  1865  ; 
La    cabane    du    pccheur,     opera-comique, 


Theatre  de  Versailles  ;  Jelyotte  ;  Samson, 
grand  opera  ;  Amelina ;  Zephora,  grand 
opera  ;  Sariotti,  grand  opera ;  La  pazza 
della  regina ;  Le  jugemeut  dernier,  ora- 
torio, Cirque  des  Champs-Elysees,  1868 ; 
two  masses  ;  romances,  chamber  music, 
etc.  ;  L'Art  du  chant  (Paris,  1846)  ;  La  Me- 
lodie,  etudes  complementaires  vocales  et 
dramatiques  de  I'Art  du  chant. — Fetis  ;  do., 
Supplement,  i.  292  ;  Grove  ;  Mendel ;  Rie- 
mann. 

DUPUIS,  JACQUES,  born  in  Liege, 
Oct.  21,  1830,  died  there,  June  20,  1870. 
Violinist,  pupil  at  the  Liege  Conserva- 
toire, from  1839 ;  studied  solfege  under 
Lignac,  the  pianoforte  under  Ledent  ;  the 
violin  under  Joseph  Dupout  and  Prume  ; 
and  composition  under  Daussoigne-Mehul. 
He  won  1st  prize  for  solfi'ge,  in  1841 ;  2d 
prize  for  violin,  in  1842  ;  1st  prize  for  vio- 
lin and  2d  for  pianoforte,  1847  ;  and  1st 
prize  for  pianoforte,  1848.  In  1850  he  be- 
came professor  of  the  violin  in  the  Con- 
servatoire. He  has  j^layed  at  the  popular 
concerts  of  Paris  and  Brussels,  at  the  Fe- 
lix Meritis  of  Amsterdam,  and  concerts  at 
Aix-la-Chapelle.  Works  :  2  concertos  for 
violin  ;  Sonatas,  fantaisies  et  morceaux  de 
genre  for  pianoforte  and  violin.  Many  of 
his  works  remain  uiqDublished. — Fetis,  Sui> 
plemont,  i.  294  ;  Mendel. 

DUPULS,  THOMAS  SANDERS,  born  in 
England  of  French  parents  in  1733,  died  in 
London,  June  7,  1796.  Organist,  choris- 
ter of  the  Chapel  Royal  under  Bernard 
Gates,  and  pujiil  of  John  Travers,  organist 
of  the  Chajjel  Royal.  He  was  appointed 
organist  of  that  chapel  on  the  death  of  Dr. 
Boyce,  in  1779  ;  Mus.  Bac.  and  Mus.  Doc, 
Oxford,  June  26,  1790.  He  published  sev- 
eral sonatas  and  concertos  for  pianoforte, 
organ  pieces,  chants,  anthems,  and  glees. 
After  his  death  a  selection  of  his  cathedral 
music  was  j^nblished  bj'  John  Spencer,  one 
of  his  i)uj)ils. — Grove  ;  llarmonicon,  1833, 
141. 

DUPUY,  JEAN  B.\PTISTE  EDOUARD 
LOUIS  CAmLLE,  born  at  Corselles,  near 


DURANTE 


NeufcliAtel,  in  1775,  died  iu  Stocldiolin, 
April  3,  1822.  Diamatic  composer,  pupil 
in  Paris  of  Cluibran  on  the  violin  and  of 
Dussek  on  the  pianoforte  ;  at  the  age  of 
sixteen  lie  became  Conzertnieister  to  Prince 
Henry  of  Prussia,  at  Illieinsberg,  and  four 
years  later  went  to  Berlin,  where  he  stud- 
ied harmony  under  Fasch.  He  afterwards 
travelled  through  Germany  and  a  part  of 
Poland,  giving  concerts  iu  all  the  larger 
cities  ;  towards  the  end  of  1793  he  arrived  at 
Stockholm  and  was  engaged  as  singer  at  the 
Opera,  and  second  conductor  of  the  court 
concerts  ;  he  left  for  Coi^euhagen,  iu  1799, 
to  enter  upou  a  similar  eugagemeut  there, 
and  at  the  time  of  the  English  expedition 
against  Copenhagen,  under  Nelson,  lie  en- 
listed iu  1801  in  a  corps  of  volunteers  or- 
ganized for  the  defence  of  the  city  ;  during 
the  bombardment  of  1807  he  distiuguished 
himself  by  his  bravery,  and  was  promoted 
to  the  grade  of  lieutenant.  In  1809-10  he 
was  in  Paris,  and  after  his  return  lived  first 
at  Schoeuen,  then  at  Stockholm,  where  he 
was  ajjpointed  professor  and  Kapellmeister 
to  the  court  iu  1812.  Works  :  Bjorn  Jarii- 
sida,  Swedish  opera,  given  at  Stockholm, 
1822  ;  Felicie,  ib.,  about  1824  ;  Une  folie  ; 
Funeral  service  for  King  Charles  XIII.; 
Duos  for  violins  ;  Concerto  for  flute  ;  Polo- 
naise for  two  violins,  guitar,  and  bass ;  Qua- 
drilles, waltzes,  and  ecossaises,  for  piano- 
forte ;  Marches  for  military  baud,  etc. 
— Fetis. 

DURANTE,  FRANCESCO 
Frattamagg  lore, 
Naples,  March  15, 
1684,  died  in 
Naples,  Aug.  13, 
1755.  As  a  boy 
he  entered  the 
Couservatorio  dei 
Poveri  di  Gesfi 
Cristo,  and,  later, 
that  of  S.  Onofrio, 
where  he  studied 
under  Alessandro  Scarlatti.  Some  accounts 
have  it  that  he  afterwards  went  to  Rome, 


born 


and  studied  singing  five  years  under  Pi- 
toni,  and  strict  counterpoint  under  Bernar- 
do Pasquiiii ;  but  this  is  doubtful.  In  1718 
he  became  the  head  of  S.  Ouofrio,  and  in 
1742  succeeded  Porpora  at  the  Couserva- 
torio Santa  Maria  di  Loreto,  at  Naples, 
which  post  he  held  until  his  death.  Du- 
rante and  Leo  have  been  called  the  founders 
of  the  Neapolitan  school,  but  they  should 
rather  be  called  two  of  its  most  shining 
lights,  as  their  i^redecessor  Scarlatti  must 
be  looked  upon  as  the  real  founder.  Du- 
rante wrote  almost  exclusively  for  the 
church,  and  never  for  the  stage.  If  some- 
what lacking  in  invention,  he  was  a  com- 
plete master  of  style  ;  his  manner  is  vigor- 
ous, grand,  and  often  exceedingly  brilliant. 
He  was  esjjecially  noted  for  Ids  skill  as  a 
teacher,  and  he  produced  probably  more 
famous  pupils  than  any  other  one  man.  Of 
these  Pergolesi,  Duiii,  Traetta,  Vinci,  Ter- 
radeglias,  Jommelli,  Piccinni,  Sacchini,  Gu- 
glielmi,  Paisiello,  aud  others  may  be  said  to 
have  almost  monopolized  the  l_yric  stage 
iu  Europe  during  the  last  half  of  the 
18tli  ceuturj'.  Few  of  Durante's  works 
have  been  published.  The  library  of  the 
Paris  Conservatoire  has  a  rich  collection  of 
his  MSS.,  and  a  few  important  works  are 
in  the  Vienna  library.  The  collections  of 
Schlesinger,  Rochlitz,  Commer,  and  the 
Fitzwilliam  Music  contain  separate  pieces 
of  his ;  the  great  Magnificat,  with  addi- 
tional accompaniments  by  Robert  Franz,  is 
published  by  Ivarmrodt,  iu  Halle.  Works  : 
11  masses  for  four  to  nine  voices  ;  Credo 
for  four  voices  ;  do.  for  five  voices ;  IG 
psalms  for  one  to  eight  voices;  G  anthems; 
3  hymns ;  13  motets ;  Te  Deum  for  five 
voices ;  5  litanies ;  Dopo  sentiro,  cantata 
for  contralto ;  12  madrigals ;  11  solfeggi 
for  two  voices  ;  G  sonatas.  The  Vienna  li- 
brary possesses  also  his  Lamentations  of 
Jeremiah,  a  so-called  pastoral  mass,  aud 
other  compositions  iu  MS. — Clement,  Mus. 
celebres,  58  ;  Fctis ;  Mendel  ;  Schilling. 

DURCH  DIE  WALDER,  DURCH  DIE 
AUEN.     See  FreischiUz,  Der. 


407 


DUEGH 


DIIECH    INIITLEID    WISSEND.      See 

Parsifal. 

DtJRRNER,    JULIUS     (RUPPEECHT), 

born  at  Ausbacli,  July  15,  1810,  died  at 
Edinburgh,  June  10, 1859.  Vocal  comjjoser, 
pupil  of  Eriedricli  Sehueider  at  Dessau  ;  be- 
came cantor  at  the  Stadtkirche  in  his  native 
city  in  1831,  and  went  to  Leipsic  in  1812 
to  comijlete  bis  studies  under  Mendelssohn 
and  Hauptmann ;  two  years  later  he  ac- 
cepted a  call  to  Edinburgh,  where  he  was 
much  esteemed  as  a  vocal  teacher  and  mu- 
sical director.  Of  his  compositions  those  for 
male  chorus  are  especially  popular. — Mendel. 

DU  SANG,  DU  SANG.     See  ProjMlc. 

DUSCHEK  (Dusek),  FRANZ,  born  at 
Choteboi'ky,  Bohemia,  Dec.  8,  1736,  died  in 
Prague,  Feb.  12,  1799.  Pianist,  educated 
in  the  Jesuits'  Seminarj',  Koniggriitz,  under 
the  patronage  of  Count  von  Spork ;  but 
being  crijjpled  by  a  fall,  he  devoted  himself 
entirely  to  music  ;  and  studied  at  Vienna 
under  Wageuseil.  He  settled  in  Prague, 
where  he  was  one  of  the  best  players  and 
teachers  of  the  pianoforte  until  his  death. 
Among  his  pupils  were  Maschek,  Kozeluch, 
Witasek,  and  his  wife  Josephine.  Mozart, 
who  was  his  friend,  j)ut  the  last  touches  to 
Don  Giovanni  at  his  villa.  Works  :  Several 
sonatas  ;  Die  Seeschlacht  uud  giinzliche 
Niederlage  der  grossen  holliindischen  Flotte 
dureh  den  General  Duncan,  den  2.  Oct.,  1797, 
charaktei'istische  Sonate  fiir  das  rortej)iano 
(Vienna,  1799) ;  xxv.  Lieder  fiir  Kinder  von 
Spielmanu  (Prague,  1792),  written  partly 
with  Maschek  ;  Pianoforte  concerto  ;  Many 
other  compositions  in  manuscript. — Wurz- 
bach  ;  Mendel  ;  Fotis  ;  Grove  ;  Dlabacz. 

DUSSEK,  (originally  Dusek)  FRANZ 
(BENEDIKT),  born  at  Czaslau,  Bohemia, 
March  22,  1765,  died  (in  Italy?)  after 
1816.  Dramatic  composer,  son  and  pupil 
of  Johann  Josef  Dussek,  whose  place  he 
often  supplied  at  the  organ  ;  he  jslayed 
well  also  on  the  violin,  the  violoncello, 
and  the  pianoforte.  Being  sent  to  Prague 
to  complete  his  studies,  he  entered  the 
service  of  the  Countess  von  Liltzow,  whom  | 


he  accomj)anied  to  Italy.  At  Mortara  he 
obtained  a  position  as  organist  and  musi- 
cal director,  afterwards  became  accompa- 
nist at  the  Teatro  San  Benedetto,  Venice, 
then  at  La  Scala,  Milan,  whence  he  went 
to  Laibach,  Carniola,  in  1790,  as  organ- 
ist at  the  cathedral.  In  1808  he  became 
Kapellmeister  of  an  Austrian  regiment  of 
infantry,  stationed  at  Venice.  Works — Op- 
eras :  La  cafl'etiera  di  spirito,  given  in  Mil- 
an, 1780;  La  feudataria,  about  1780  ;  L'im- 
postore,  about  1785  ;  Voglia  di  dote  e  nou 
di  moglie,  Milan,  about  1795  ;  II  trombetta  ; 
Matrimonio  e  divorzio  in  uu  sol  giorno  ; 
Roma  salvata,  ojiera  seria  ;  II  fortunato  suc- 
cesso  ;  L'  iucantesimo  senza  magia  ;  La 
fei'ita  mortale  ;  L'  ombra,  ossia  il  ravvedi- 
niento,  farce,  Venice,  1815  ;  Gerusalemme 
distrutta,  oratorio;  Trio  for  flutes;  Sonata 
for  pianoforte  and  violin  ;  Concertos  for 
violin  and  jiianoforte  ;  Church  music,  can- 
zonets, etc. — Fetis  ;  Mendel ;  Dlabacz. 

DUSSEK  (Dusek),  JOHANN  JOSEPH, 
born  at  Wlazowicz,  Bohemia,  in  1739,  died 
in  1811.  Taught  music  in  Langenau  and 
Chumecz,  and  was  organist  and  choir-master 
at  Czaslau  until  three  years  before  his  death. 
He  was  the  father  of  Johann  Ludwig  and 
Franz  Benedikt  Dussek.  Works:  Masses, 
litanies,  pianoforte  sonatas,  organ  fugues 
and  toccatas,  all  in  manuscrij^t. — Mendel ; 
Fetis  ;  Wurzbach. 

DUSSEK  (Dusek),  JOHANN  LUDWIG 
(Ladislaw),  born 
at  Czaslau,  Bohe- 
mia, Feb.  9, 1761, 
died  at  Sain  t- 
Germainen-Laye, 
March  20,  1812. 
The  name  was 
variously  sjselled, 
Dussik,  Duschek, 
Dussek  ;  Johann 
wrote  it  in  the 
last  form,  but 
pronounced  it  Duschek.  He  was  the  eldest 
of  three  children  (his  brother  Franz  Bene- 
dikt, and  his  sister  Veronika  Rosalia,  were 


468 


DUSSEK 


both  distiiignislied  iu  music)  ;  bis  fatber, 
Jobaim  Joseph  Diissek,  was  organist  aud 
the  leading  teacher  iu  Czaslau,  aud  began 
to  teach  his  sou  the  jaianoforte  iu  1766,  and 
the  organ  iu  1770.  Johanu  was  soon  en- 
gaged as  soprano  at  the  Miuorite  church 
iu  Iglau,  where  he  entered  the  Jesuit  col- 
lege, and  kept  up  his  studies  in  music  under 
Father  Ladislaw  Speuar,  continuiug  them 
for  two  years  at  Kutteuberg,  after  being  ap- 
pointed organist  at  the  Jesuit  church  there. 
Thence  lie  went  to  Prague,  where  he  took 
the  degree  of  blaster  of  Philosophy.  He 
wished  to  enter  the  Cistercian  order,  but 
was  refused  admission  because  of  his  youth. 
Count  Miiuuer,  an  Austrian  artillery  officer, 
took  him  to  Mechlin,  where  he  was  for  some 
time  organist  at  the  church  of  Saiut-Kom- 
baut,  and  gave  pianoforte  lessons.  He 
next  went  to  Berg-op-Zoom,  where  he  was 
organist  at  one  of  the  princijial  churches. 
This  was  his  last  engagement  as  organist. 
He  soon  went,  however,  to  Amsterdam, 
where  his  brilliant  reputation  as  pianist 
and  composer  began  to  establish  itself  ; 
then  he  jjassed  a  j-ear  at  The  Hague,  where 
he  gave  much  time  to  composition.  In 
1783  he  moved  to  Hamburg,  where  he  stud- 
ied uuder  Philipp  Emanuel  Bach,  with  the 
best  results.  In  1781  he  was  in  Berlin, 
aud  a  year  later  iu  Cassel,  astonishing 
everyone  by  his  performances  ou  the  pia- 
noforte and  on  the  harmonica,  an  instru- 
ment then  newly  invented  by  one  Hessel. 
Near  the  end  of  1786  he  went  to  Paris, 
where  his  immense  success  could  not  dis- 
suade him  from  visiting  Italy  in  company 
with  his  brother  Franz.  Returning  to  Paris 
iu  1788,  he  was  driven  by  the  unsettled  con- 
dition of  aftairs  to  London,  where  he  re- 
mained until  1800.  Here  he  became  im- 
mediately a  fashionable  teacher  and  the 
centre  of  a  distinguished  musical  circle, 
winning  the  highest  encomiums  from 
Haydn.  In  1792  he  married  Sofia  Corri, 
a  noted  singer  whom  he  had  often  ac- 
companied at  concerts.  He  set  up  a  mu- 
sic-shop iu  iiartnership  with  his  father-in- 


law,  Domeuico  Corri  ;  but,  owing  to  Dus- 
sek's  shiftlessness  aud  want  of  business 
knowledge,  the  enterprise  was  a  total  failure, 
Dussek  being  even  forced  to  leave  Loudon 
secretly  in  1800  to  escajje  creditors,  and  to 
go  to  Hamburg.  In  1802  he  gave  a  concert 
in  Prague,  and  paid  a  visit  to  his  father  at 
Czaslau.  Iu  1803  he  met  Prince  Louis 
Ferdinand  of  Prussia  iu  Magdeburg.  He 
continued  living  with  the  iirince  iu  Berlin 
on  terms  of  aft'ectionate  intimacy  until 
the  latter's  death,  iu  1806,  on  tlie  tield  of 
Saalfeld.  Dussek's  Elcgie  harmonique, 
op.  61,  one  of  his  best  works,  was  inspired 
by  the  death  of  his  friend  (see  Leipziger 
Musik  Zeitung,  1807,  741 ;  Rellstab,  Erin- 
nerungen ;  Spohr,  Selbstbiographie,  i.  85, 
94.)  He  next  entered  the  service  of  Prince 
von  Isenburg,  and  theu  of  Talleyrand, 
Prince  of  Beueveuto,  with  whom  he  re- 
turned to  Paris  iu  1807.  He  remained 
living  with  him  until  his  death,  enjoj-ing 
almost  complete  leisure  and  an  exception- 
ally brilliant  reputation.  Although  Dus- 
sek's compositions  have  now  passed  into  al- 
most complete  oblivion,  the  place  he  occu- 
pied iu  musical  history  was  an  important 
one.  In  the  history  of  the  development  of 
pianoforte  playing  he  stands,  as  it  were, 
between  Clementi  and  Hummel.  Yet,  al- 
though his  reputation  was  of  the  most 
brilliant  in  an  age  especially  rich  iu  great 
pianists  aud  composers  for  that  instrument, 
he  was  hardly  a  man  who  made  the  most  of 
his  surpassing  natural  gifts.  His  extraor- 
dinary facility  was  accompanied  by  a  care- 
less, easy  disposition,  antl  he  was  not  a 
hard  worker.  Much  confusion  exists  in  the 
opus-numbers  of  his  works.  Works :  3 
concertos  for  pianoforte  and  quartet,  op.  1  ; 
11  concertos  for  pianoforte  and  orche.stra, 
iu  E-ilat,  op.  3,  iu  F,  op.  15,  iu  B,  op.  22, 
in  E  flat,  op.  26,  do.,  op.  27,  iu  C,  op.  29,  in 
B,  op.  40,  iu  G  minor,  op.  50,  in  B,  op.  63 
(for  2  jjianofortes  and  orchestra),  in  F,  op. 
66,  op.  70  ;  3  sonatas  for  pianoforte,  violin 
and  violoncello,  op.  2  ;  do.,  op.  24  ;  do.,  op. 
31  ;  2  do.,  op.  34 ;  Sonata  for  do.,  op.  37  ; 


DUTILLIEIT 


3  do.  for  pianoforte  and  violiu,  op.  4  ;  do., 
op.  8  ;  do.,  op.  12  ;  do.,  op.  13  ;  do.,  op. 
14  ;  do.,  op.  17  ;  do.,  op.  18  ;  do.,  op.  51 ; 
do.,  op.  69  ;  G  sonatas  for  do.,  op.  28  ;  do., 
op.  46;  4  do.,  op.  30  ;  2  do.,  op.  47  ;  Son- 
ata for  do.,  op.  36  ;  3  sonatas  for  2  violins, 
op.  5  ;  do.  for  pianoforte  and  flute,  oj).  7  ; 
do.,  op.  25  ;  6  sonatas  for  do.,  op.  19  ;  6 
sonatinas  for  do.,  op.  20  ;  3  sonatas  for  pi- 
anoforte, op.  9  ;  do.,  op.  10  ;  do.,  op.  11 ;  do., 
op.  35  ;  do.,  oj).  39  ;  Sonata,  etc.,  for  do., 
op.  23  ;  do.,  op.  75  ;  do.,  op.  77  ;  Sonatas 
for  do.,  op.  43-45  ;  Sonatas  for  pianoforte 
duet,  op.  32,  38,  48,  67  (3),  72,  73,  74; 
Sonata  for  pianoforte,  flute  and  Tioloncello, 
op.  21 ;  do.,  op.  65  ;  Quartet  for  pianoforte 
and  strings,  op.  41  ;  do.,  op.  53  ;  do.,  op. 
56  ;  3  quartets  for  strings,  op.  60  ;  Not- 
turuo  concertante  for  jsianoforte  and  violin, 
op.  68  ;  Numerous  minor  works  for  piano- 
forte, and  songs. — Dlabaez  ;  Fetis ;  Mendel ; 
Clement,  INIus.  celebres,  235  ;  Dwight's  Jour- 
nal, 1861 ;  London  Mus.  World,  1861. 

DUTILLIEU  (Ditillieu),  PIERKE,  born 
at  Lyons  in  1756,  died  in  Vienna,  June  28, 
1798.  Dramatic  composer,  studied  and 
travelled  in  Italy,  and  in  1790  went  to  Vi- 
enna, where  lie  was  appointed  comjsoser  at 
the  court  theatre.  Works — Operas  :  An- 
tigono  ed  Enone,  given  at  Najjles,  1788  ; 
II  trionfo  d'  amore,  opera  buffa,  Vienna, 
1791 ;  Nanuerina  e  Pandoltino,  ossia  gli 
sposi  in  cimeuto,  do.,  ib.,  1792  ;  Gli  acci- 
dent! delta  villa,  ib.,  1794 ;  La  superba 
corretta,  ib.,  179.5.  Ballets :  I  Cui-landesi, 
Naples,  1790 ;  IMagia  contra  niagia,  ib., 
1791;  Die  Freiwilligen,  Vienna,  1793;  Ar- 
minio,  Der  Jahrmarkt,  Die  ]\Iacht  des  scho- 
nen  Geschlechts,  ib. ;  Sis  duos  for  two  vio- 
lins, op.  1  (Vienna,  1800)  ;  Concerto  for 
violin  ;  Trios,  songs,  etc. — Fetis  ;  Mendel. 

DUVERNOY,  HENRI  (LOUIS 
CHARLES),  born  in  Paris,  Nov.  16,  1820, 
still  living,  1888.  Pianist,  sou  of  Charles 
Duvernoj',  clarinettist  (1766-1845) ;  jjuj^il  at 
the  Paris  Conservatoire  from  1829  to  1845. 
He  took  the  2d  i^rize  for  solfege  in  1831, 
and  the  1st  in  1833  ;  was  a  pupil  of  Zim- 


merman for  the  pianoforte,  winning  the  1st 
prize  in  1837  and  the  1st  in  1838  ;  the  2d 
prize  for  harmony  and  practical  accompani- 
ment in  1839  ;  and  for  counterpoint  and 
fugue,  as  pupil  of  Halevy,  in  1841.  He  took 
also  the  2d  jn-ize  for  organ  in  1840,  the 
1st  in  1842,  and  the  2d  grand  prix  de  Rome 
in  1848.  He  became  assistant  professor  of 
solfege  at  the  Conservatoire  in  1839,  and 
full  professor  in  1848  ;  was  organist  for 
several  years  of  the  Protestant  churches  of 
the  rue  des  BiUettes  and  of  the  Redemp- 
tion, and  organist  in  chief  of  the  Pauthemont 
Church  in  1858.  He  was  appointed  hj  the 
Consistory  of  Montbelliard,  in  1846,  to  make 
a  selection  of  psalms  and  chants  for  the  Re- 
formed Church  of  France  ;  this  he  under- 
took with  his  uncle  and  co-labourer,  Georges 
Kuhn.  Their  joint  work  was  published  as  : 
Nouveau  chois  de  lasaulmes  et  cantiques 
harmonises  a  quatre  voix,  et  composes  en 
jjartie  par  MM.  Kuhn  et  Henri  Duvernoy  (2 
vols.,  Paris,  1848).  A  second  part  was  pub- 
lished at  the  desire  of  the  Protestant  clergy, 
in  which  he  was  assisted  by  Duprato  (Paris, 
1859).  He  also  published,  in  collaboration 
with  Kuhn,  Solfege  des  chanteurs  (Paris, 
1855);  and  is  the  author  of  Solfeges  a  change- 
nients  de  clef  (Paris,  1857),  which  has  been 
adojated  by  the  Conservatoires  of  Paris,  Brus- 
sels, and  Liege,  and  by  the  music  schools  of 
Toulouse,  Marseilles,  Metz,  and  Lille.  He 
published  Solfege  artistique,  in  two  parts 
(Paris,  1860) ;  Vocalises  pour  voix  de  so- 
prano ou  de  tenor  ;  Ecole  concertante  de  sol- 
fege, on  20  Etudes  de  style  et  de  perfectiou- 
nemeut  pour  deux  voix  egales  sans  accom- 
pagnement  ;  Solfege  melodique,  theorique 
et  pratique. — Fetis,  iii.  101  ;  Suj)plement,  i. 
298  ;   Larousse  ;  Mendel  ;  Riemanu,  234. 

DLWERNOY,  VICTOR  ALPHONSE, 
born  in  Paris,  Aug.  30,  1842,  still  living, 
1888.  Pianist,  pupil  of  the  Paris  Conser- 
vatoire under  JIarinontel  for  the  jiianoforte, 
winning  the  2d  prize  in  1854  and  the  1st  in 
1855  ;  pupil  of  Bazin  in  accomjjaniment 
and  harmony,  taking  the  2d  accessit  in 
1859.      He    brought   out   two    symphonic 


DVORAK 


fragments  at  the  Chfitelet  concerts,  and  a 
concerto  at  a  concert  of  the  Societe  Na- 
tionale  de  Musitjue,  in  187(5.  Went  to 
London  as  virtuoso  and  met  with  great 
success.  Works :  Six  nu'lodies  avec  ac- 
compagnement  de  piano  ;  and  several  mor- 
ceaux  de  genre  for  pianoforte. — Petis,  Sup- 
plement, i.  298  ;  Mendel,  Ergiinz.,  93. 

DVOEAK,  ANTONIN  (pronounced  Dvor- 
shak),  born  at  Miilil- 
liausen,  B  o  li  e  m  i  a, 
Sept.  8,  1841,  still 
living,  1888.  He 
was  destined  to  be  a 
butcher  and  i  u  n  - 
keeper,  like  his  fa- 
ther, but  the  village 
schoolmaster  taught 
him  to  play  the  vio- 
lin and  to  sing.  In 
1857  he  went  to  Prague,  became  violinist 
iu  an  orchestra,  sttulied  in  an  organ  school, 
and  after  graduating  was  engaged  as  first 
violinist  at  the  National  Theater,  and  as  or- 
ganist iu  several  churches  of  Prague.  His 
hymn  for  chorus  and  orchestra,  Die  Erben 
des  weisseu  Berges,  was  performed  in  1873 
with  such  success  as  to  gaiu  him  a  wide 
reputation ;  and  in  1875  he  was  awarded 
the  Artist's  Stipend  by  the  Austrian  Gov- 
ernment, which  enabled  him  to  devote  him- 
self to  composition.  About  1877  his  fame 
was  firmly  established  all  over  Europe.  In 
1884  he  visited  London  as  the  guest  of  the 
Philharmonic  Society,  and  in  1885  he  con- 
ducted his  cantata,  The  Spectre  Bride,  at 
the  Birmingham  Festival.  Works  —  Op- 
eras :  Wanda,  five  acts,  text  by  Sumawsky, 
Prague,  187G ;  Der  Bauer  ein  Sehelm, 
comic,  Prague,  1878,  Dresden,  1882  ;  Der 
Dickshiidel,  comic;  Dimitrije  {Dlmitri), 
Prague,  1882;  Konig  und  Ki")hler,  comic, 
Prague.  Silhouetten,  12  pieces  for  piano- 
forte (i  hands),  op.  8  ;  Romance  for  violin 
and  orchestra,  op.  11 ;  Dumka  (elegy),  and 
Furiant  (Bohemian  dance),  for  pianoforte, 
op.  12  ;  Ballade,  for  violin  with  pianoforte, 
op.  15  ;  Four  duets,  op.  20  ;  Trio  for  jjiano- 


forte,  violin,  and  violoncello,  op.  21  ;  Sere- 
nade in  E,  for  string,  orchestra,  op.  22  ; 
(Quartet  for  pianoforte  and  strings,  op.  23  ; 
Trio  in  G  minor,  op.  26  ;  Hymne  der  biih- 
mischen  Landleute,  for  mixed  chorus,  with 
pianoforte  (4  hands),  op.  28  ;  Hymnus  for 
mixed  chorus  and  orchestra,  op.  30  ;  Kliinge 
aus  MiUiren,  13  duets  for  soprano  and  con- 
tralto, op.  32  ;  Concerto  for  pianofoi'te  and 
orchestra,  op.  33  ;  Quartet  for  strings,  op. 
34 ;  Dumka,  elegy  for  pianoforte,  op.  35  ; 
Air  and  variations  in  A-tlat,  pianoforte,  op. 
3G  ;  Four  duets,  op.  38  ;  Suite  for  orchestra, 
op.  39  ;  Notturno  for  string  orchestra,  op. 
40  ;  Furiant,  Bohemian  national  dance,  op. 
42  ;  Serenade  in  D  minor,  for  wind  instru- 
ments, violoncello,  and  double  bass,  op.  44  ; 
Slavische  Rhapsodieu  in  D,  G,  and  A-fiat, 
for  full  orchestra,  op.  45  ;  Slacische  Tiinze, 
for  do.,  ojj.  4G  ;  Bagatellen  for  two  violins, 
violoncello,  and  pianoforte,  op.  47  ;  Sextet 
for  strings,  op.  48  ;  Mazurek  in  E  minor, 
violin  and  orchestra,  op.  49  ;  Quartet  in  E- 
flat,  strings,  op.  51  ;  Impromptu,  Intermez- 
zo, Gigue,  and  ]5glogne  for  pianoforte,  op. 

52  ;  Concerto  for  violin  and  orchestra,  op. 

53  ;  Waltzes  for  pianoforte,  op.  54  ;  Gypsy 
Melodies,  op.  55  ;  Mazurkas  for  pianoforte, 
op.  5G  ;  Sonata  for  pianoforte  and  violon- 
cello, op.  57  ;  Stabat  mater  for  soli,  chorus, 
and  orchestra,  op.  58,  1883  ;  Legends  for 
orchestra,  op.  59  ;  Symphony  No.  1,  iu  D 
major,  op.  60  ;  Third  quartet  in  C,  op.  61  ; 
Mein  Heim,  overture  for  orchestra,  op.  62  ; 
In  der  Natur,  five  choruses  for  soprano, 
contralto,  tenor,  and  bass,  op.  63  ;  Second 
trio  iu  F  minor,  op.  65  ;  Scherzo  capriccioso 
for  orchestra,  op.  66  ;  Hunit^ti'i,  dramatic 
overture  for  orchestra,  op.  67 ;  Aus  dem 
Buhmer  Walde,  Charakterstiicke  for  piano- 
forte (4  hands),  op.  68  ;  Die  Geisterbraut 
(The  Spectre  Bride),  ballad  for  soU,  chorus, 
and  orchestra,  op.  69,  Birmingham  Festi- 
val, 1885  ;  Symphony  No.  2,  in  D  minor, 
op.  70,  played  in  London,  April  22,  1885, 
New  York,  by  Theodore  Thomas,  Jan.  9, 
1886  ;  Die  heilige  Ludmila  (Saint  Ludmila), 
oratorio,  op.  71,  Leeds  Festival,  1886  ;  Neue 


DYER 


Slavische  Taiize  foi-  orchestra,  op.  72  :  Trio 
for  two  violins  and  viola,  op.  74  ;  Roman- 
tische  Stiicke  for  violin  and  pianoforte,  op. 
75  ;  Patriotic  Hymn,  for  cliorus  and  orches- 


tra ;  Songs,  op.  3,  5,  6,  7,  9, 

50,    55,    73.— Mus.    Wocheu- 

blatt,  xi.  3,   15,   39,  67,   79,  91 ;  Mendel ; 

Eiemann. 

DYER,  ARTHUR  EDWIN,  born  at 
Froine,  Somersetshire, 
England,  Feb.  26, 
1843,  still  living, 
1888.  Organist  and 
music-master  at  Chel- 
tenham College.  Mus. 
Bac,  Oxford,  1873; 
Mus.  Doc,  ib.,  1880. 
Works:  Salvator 
Mundi,  cantata,  1881 ; 
Harold,  do.,  1882;  I 
wish  to  tune  my  quivering  Ij're,  for  cho- 
rus and  orchestra,  Gloucester  Musical  Fes- 


X*w/,, 


tival,    1883  ;    Church    and    organ    music  ; 
Songs. 

DYKES,  JOHN  BACCHUS,  born  at 
Kingston-upon-Hull,  England,  March  10, 
1823,  died  at  St.  Leonai-d's,  Jan. 
22,  1876.  Church  composer,  pupil  of 
Skelton,  organist  at  Hull,  then  stud- 
ied at  Cambridge  under  Walmisley, 
and  in  1817  became  curate  at  Malton, 
Yorkshire,  in  1849  minor  canon  and 
jjrecentor  of  Durham  Cathedral,  and 
in  1862  vicar  of  St.  Oswald,  Durham. 
Mus.  Doc,  Durham,  1861.  Works  :  Ser- 
vice in  F  ;  The  23d  psalm  ;  Anthems, 
psalms,  and  hymns,  the  latter  of  which  are 
among  the  finest  examples  of  modern  times. 
— Grove. 

DYNE,  JOHN,  distinguished  English 
alto  singer  and  glee  composer  of  the  latter 
part  of  the  18th  century,  died  Oct.  30,  1788. 
His  glee,  Fill  the  Bowl,  obtained  the  Catch 
Club  prize  in  1768.  He  was  appointed 
Gentleman  of  the  Chapel  Royal  in  1772, 
and  lay  vicar  of  Westminster  Abbey  in 
1779.  He  was  one  of  the  principal  singers 
at  the  Handel  Commemoration  in  1784. 
—Grove,  i.  478. 


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